Results tagged “Prelude”
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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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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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.
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.
Small video production company delivers big value for variety of customers with Adobe Creative Cloud
London-based Fraktiv and geebeebee media are two separate parts of the same company. Fraktiv is the post production-specific arm, focusing on TV and film, and geebeebee media is the production arm, mostly for sports work. Oli da Costa is the founder and managing director and is active as an Adobe Community Professional. Ever since he founded the company in 1999, da Costa has relied on Adobe for his design and video applications, and today embraces a workflow across all digital content based on Adobe Creative Cloud.
Adobe: How did you first discover Adobe creative software?
da Costa: I actually studied aeronautical engineering at university and was researching the aerodynamics of Formula 1 racing cars. As part of my research, I needed to shoot videos of airflow simulation around cars from several angles. To do this, I put model cars in a water tunnel and released dye into the moving water to simulate how air would flow around them, as it was much clearer to see than in a wind tunnel. For that project, I taught myself how to edit video using Adobe Premiere Pro and how to use the pen tool in Adobe Photoshop to trace the paths.
Adobe: How did you move from engineering to operating your own production facilities?
da Costa: After university, I went decided to apply my engineering mind to learning software and ended up going into media production instead of engineering. I started freelancing and now I operate my own company. Fraktiv and Geebeebee are two halves of the same company. Or you could say one company with two brands.
My first client was the university where I had studied. They hired me to do design and production, digital publishing, and video promotions. I liked the variety of work because it gave me opportunities to learn new software.
Adobe: What Adobe Creative Cloud software do you use?
da Costa: Over the years, I’ve used a number of applications, from Adobe Dreamweaver, Photoshop, and InDesign to Adobe Premiere Pro and Illustrator for media production work. I still use Dreamweaver on a weekly basis for client web projects, and occasionally work in Adobe Flash Professional and Edge Animate, but video is now the mainstay of my work so I primarily use Adobe Premiere Pro, After Effects, and Photoshop.
To keep my skills up, I attend as many Adobe events as possible. I try to keep track of new software developments, such as Adobe Muse, Prelude, and SpeedGrade. Even though I don’t use these applications on a daily basis, I want to have the knowledge to use them if I need them.
Adobe: Do you have any favorite features?
da Costa: I probably use Dynamic Link between After Effects and Premiere Pro the most. I normally create work in After Effects and then bring it into Premiere Pro where I match it up with live action footage, adding titles, or motion graphics over video. The tight integration between After Effects and Premiere Pro drives my workflow while allowing me to be creative. I also use the masking and tracking tools in Premiere Pro to apply effects or color corrections to specific areas in a clip. Time remapping in Premiere Pro is useful for our action sports work at Geebeebee. I can time ramp video from regular speed to slow speed and back to regular. Adobe Premiere Pro is the only software that can do this in a creative, straightforward way.
Adobe: How do Adobe Creative Cloud applications help in your day-to-day work?
da Costa: I recently managed media output for a pair of major international biking events in France and Canada. All of the videographers and editors used Adobe software, so we were able to implement some great workflows, such as shared video assets, titling, and encoding presets. Because everyone was using the same files in Premiere Pro, we were able to establish a style and hard code it into the files so it was carried all the way through.
Adobe: Tell us more about your action sports work.
da Costa: Action sports give us a free reign over creativity that we might not get with corporate projects because of branding standards or other parameters. We do a lot of the action sports projects on spec. The sky’s the limit creatively. We can use props and actors. It all comes down to budget.
Earlier this year, we completed a project for Velosolutions, a Swiss company that builds pump tracks – which are like skate parks for bikes – all around the world. To promote the opening of the newest park, we worked with champion German freerider Timo Pritzel to be in a quirky intro where he’s a teacher who invites students to ride their bikes because it’s more fun than math and English.
We’re also getting into a more cinematically-styled approach as well as 4K workflows since we started working with Sony FS700 super slow-motion cameras. Along with Premiere Pro and After Effects, we’re able to deploy high-end techniques and workflows and bring Hollywood production values to the action sports world. We put together videos that wouldn’t have been achievable two years ago.
Adobe: What other projects have you worked on recently?
da Costa: A few months ago, I worked on a feature documentary starring John Hurt for ITV, where I helped to train an editor moving from Avid to Premiere Pro. The documentary was about the famous poets who wrote during World War I, and whilst assisting with the online edit, I also created the show’s title sequence in After Effects. At the moment, I’m completing a series of animations for the Victoria & Albert Museum in London, illustrating the firing mechanisms of the very first rifles. That’s what I love about my work, there’s loads of different things coming my way on pretty much a daily basis, from action sports and TV work to installations and online advertising.
Adobe: What are you most excited about for the future?
da Costa: I’m excited to do more 4K projects. Adobe tools such as Premiere Pro will help us take our work to the next level in terms of working in 4K/UHD resolutions and high-end formats like CinemaDNG for editing, visual effects, and grading.
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Epic freesking and snowboarding tour improves video workflow and productivity with Adobe Creative Cloud
The Freeride World Tour by The North Face (FWT) is the top big mountain freeskiing and snowboarding tour in the world. FWT doesn’t deal with artificial jumps and groomed slopes. Athletes use the entire slope, including overhangs and cliff-faces, choosing their own path down the mountain while demonstrating control and technique through fluid movements and jumps. The mountains don’t just up the action for the athletes; they also challenge the event photographers and cinematographers. David Arnaud, the producer who has been in charge of the television and video production on FWT since 2009, along with Editor Aurelie Monod and a crew of up to 35 people, work in extremely challenging conditions to bring the excitement of FWT to viewers.
Ambitious French filmmakers produce their first genre feature film using Adobe Creative Cloud and Adobe Premiere Pro CC
The zombie movie genre, which dates back as far as the 1930s, includes dozens of films from comedies to true horror classics. Insolence Productions, created by Anaïs Bertrand in 2009, combines both comedy and horror in a new film for zombie movie enthusiasts, Super Z. After producing nine award-winning short films, this is the first feature from Insolence Productions. The movie was filmed in the heart of France in September 2013 and directed by Julien Arnaud Tabarly Volte. Producer Laura Townsend worked with Co-producer Emmanuel Pampuri and Paul Ferré, the film’s talented editor, to create the film using an Adobe video workflow.
Adobe: How did you get started in the movie industry?
Pampuri: I started as cameraman in 1991 then worked on movie sets with montage, production, and finally in post production. For many years, I worked on the sets of live performances, helping capture the performing arts on video. I started my company, Les Machineurs, in 2006. We specialize mostly in post-production work but also cover the entire filmmaking workflow, from shooting to post production. We provide equipment and expertise, as well as the final output.
Townsend: I’ve been involved in the movie industry for the past eight years. I started as a production assistant then quickly moved up to director of production on short films and then full-length feature films. I started a company three years ago called La Ruche Production and produced Super Z in collaboration with Insolence Productions as a freelancer. I’ve worked with a multitude of production companies and studios on regional full-length feature films and I’m hoping to someday collaborate with U.S. filmmakers.
Adobe: What was your role with the film Super Z?
Pampuri: My role with Super Z is a bit complicated. I’m the workflow glue. I was initially the one that proposed the collaboration and brought the teams together for the realization of this motion picture. My role covered every aspect of the project from shooting to post production, including technical decisions such as equipment and software choices. I was the main coordinator for this film. Les Machineurs was also the digital lab for the film and, being the principle, I had my hands in many different aspects of its realization.
Townsend: I am a producer on the film. I met the directors about 15 years ago and was brought in by the group at Insolence Productions. I shared my role with the company’s founder Anaïs Bertrand. Over the years, I’ve collaborated with the directors and the technical team on a multitude of projects.
Adobe: Have you personally used Adobe Premier Pro CC?
Pampuri: I used Adobe Premiere Pro CC for post-production work on Super Z. I’m a member of the Adobe influencer program and use Premiere Pro on a regular basis with most projects I work on.
Adobe: Tell us about Super Z.
Townsend: It’s a movie that provoked a high level of interest among industry professionals, actors, and comedians. Given the unusual and unexpected nature of its horror/comedy premise, the projects was a challenge that many of us were eager to take on. For the same reasons, getting the financial support necessary to bring our ideas to life was a big challenge especially here in France. We had to seek help from the local film community, numerous private contributors, and the web, where we raised close to 13,000 Euros on Ulule.com.
A solid partnership with Adobe also helped us tremendously along the way. We ended up launching the project on a relatively small budget and are very happy with how things turned out thanks to Adobe Creative Cloud applications, especially Premiere Pro CC.
Adobe: How did Adobe Creative Cloud applications help?
Pampuri: The choice to go with Premiere Pro was an easy one to make. The tool made all our lives much easier. The footage was shot with RED cameras so we needed a tool that could support raw R3D file formats and allow us to rapidly upload and work with the files without wasting time formatting or dealing with compatibility issues. This aspect alone was reason enough for us to go with Premiere Pro.
Overall, there were many special effects in the film. We had a separate agency creating the effects and it was my job to help ensure a seamless workflow between all the teams involved. They used After Effects for simple 2D animations. We were able to gather elements from all different sources and easily integrate them into Premiere Pro without wasting any time dealing with compatibly or reformatting issues. Synergy, flexibility, simplicity, and efficiency were the identifiable benefits behind our choice of Adobe Creative Cloud.
Ferré: In the past I used Final Cut Pro and hadn’t used Premiere Pro for a project of this magnitude. With this film, I had Premiere Pro at my disposal and I was impressed with the overall speed of execution. We didn’t have to wait long hours for rendering and were able to use our raw R3D files directly from the cameras. The software itself was very intuitive and user-friendly. Compared to other solutions I’ve used in the past I can say it is very robust and fast. I greatly appreciated how much valuable time we were able to save thanks to Adobe Premiere Pro.
Adobe: Did you discover any new features while using Premiere Pro for the film?
Ferré: Real-time rendering was quite a pleasant surprise for me. When I made edits, I was able to export right away and see the result without having to wait a long time for rendering or reformatting. We can apply effects and filters and visualize the result in real time instead of waiting for hours.
Adobe: Were there any challenges?
Pampuri: At the beginning we had issues finding the right computers along with the appropriate hardware add-ons to tackle such a colossal project. Due to our limited budget, we were using an outdated Mac Pro computer that didn’t allow us to take full advantage of all the features that came with the software. Since we had budget restrictions, we struggled a bit getting the right equipment to do the job. There were issues with audio cards and memory capacity. After we upgraded the equipment and had the right technical infrastructure, everything worked well and we were able to make up for lost time.
Adobe: Can you see yourselves using Adobe video tools in the future?
Pampuri: Les Machineurs is already standardizing on Adobe Creative Cloud. Whether it’s Premiere Pro, After Effects, or Prelude, we appreciate the robustness and efficiency of this set of tools.
Townsend: My team and I were truly impressed with the performance of Adobe Premiere Pro CC. I plan on using it in post-production environments in the future project. My company already uses Adobe Audition for music videos and sound treatment.
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British network transforms production with Adobe Creative Cloud for enterprise
For more than 50 years, ITV has delivered beloved and successful programming to households throughout the United Kingdom. Today, ITV is probably best known for its flagship serial dramas, Coronation Street and Emmerdale, both of which have been on the air for thousands of episodes and found popularity with audiences around the world. Decades of experience with the fast turnaround of these dramas has underlined the importance of efficient production and streamlined workflows. In his upcoming talk at IBC, Martyn Suker, head of production innovation for ITV, will share some of his secrets to establishing superior production workflows.
Adobe: Tell us about what you do at ITV.
Suker: My main focus is to set and continuously review the digital production strategies across ITV Studios. I also support and advise teams for all our productions. Sometimes that means helping a show find the right facilities, developing a new workflow, or helping them maximize the creative opportunities of emerging technologies or techniques, at other times it can mean advising on standard camera policies.
Adobe: What is the production modernization program?
Suker: We’re always looking for ways to improve processes and the way that we work. Right now, our main focus is on how we can simplify our production workflows. It’s not just about swapping out a few pieces of software or hardware here and there. It’s an overarching change program looking at roles and responsibilities, best practices, and the entire production culture. Ultimately, we’re looking to save time and money during production so that we can shift more value on screen.
Adobe: What were you looking for in a solution?
Suker: We were definitely looking for an end-to-end solution. Having said that, when most people speak of an end-to-end approach, they are usually just referring to the post-production process. We look at the entire production process, starting from the early stages of commissioning and ending at the final delivery and archival. Importantly we want to track production information throughout the production lifecycle and wherever possible, automate mundane tasks. It’s about providing a better experience for users all round.
Adobe: How does Adobe Creative Cloud fit in to the production workflow?
Suker: We’ve been using Adobe Story CC Plus on Coronation Street and Emmerdale for quite some time. It’s a big operation; both shows have three or four crews working simultaneously everyday for 50 weeks a year. With such a fast turnaround they need to shoot out of order, so Story plays an incredibly important role in helping us keep track of schedules and scripts.
Designers have also been using Adobe After Effects and Photoshop for quite some time, but the two most recent additions to our workflow have been Adobe Prelude CC and Adobe Premiere Pro CC. By adopting an all Adobe workflow it’s possible to take advantage of the built-in integrations, allowing us to work more quickly and effectively.
Adobe: How does MioEverywhere support the production workflow?
Suker: MioEverywhere from Nativ.tv is a highly configurable production information and workflow management system that’s helped us take our workflow to a new level. We used it to build panels in Prelude and Premiere Pro that help simplify data and media management within that part of the process. One of the key advantages of Creative Cloud is the ability to do that type of integration, quickly and simply.
Adobe: How did you decide that the Adobe workflow was right for ITV?
Suker: We want productions to have the ability to choose the right tool for the job. We ran a pilot using Creative Cloud and MioEverywhere to produce a recent drama documentary. It was about ensuring we had the right approach, functionality and capabilities. There are always issues when you introduce something new, but you only discover those issues when you put it into a real environment—an actual production that’s got to meet deadlines and provide quality.
Adobe Prelude worked very smoothly by enabling the production team to log and ingest footage quickly and efficiently. The editor, like most of our editors at ITV, had never worked with Premiere Pro before and it was a complicated edit involving drama reconstructions mixed with archive footage. We proved there were no more issues than you would normally expect with such a complex piece of editing, indeed some things were better.
Adobe: What were the results of the pilot?
Suker: Prelude was particularly effective in providing huge time savings during ingest. Overall the benefits were significant and as a result we were able to move investment to on-screen talent. Having a recognizable high-profile leading actor may convince the network to give us a better slot in the schedule, pulling in a bigger audience and in turn, driving more revenue.
Moreover, it proved Adobe does not prevent us from working with other tools. For the pilot program, the producer wanted to work with a particular colorist and dubbing mixer. We just exported the masters, handed them over to the post-production house, re-imported the grade and dub and then finished the program in Premiere Pro. Even though it’s possible to handle everything within the Adobe workflow, we proved it’s also flexible enough to give production teams those options.
Adobe: Why did you get an enterprise term license agreement for Adobe Creative Cloud?
Suker: We can see opportunities to use Creative Cloud across the company, both in production and with our development teams. We want choice and to encourage staff to experiment with different software within Creative Cloud to provide further benefit. For example, one of our production labels is using Creative Cloud to create content for all its YouTube channels. Using the full range of toolsets within the suite is saving a lot of time and indirectly of course, money.
Adobe: What are the next steps for ITV?
Suker: We got approval for funding based on the success of the pilot, so now we’re ironing out all the details in terms of the best configurations, implementing our learning from the pilot and procuring the right infrastructure to support initial roll-out across the company.
We’re also working closely with production, development teams and editors to get them used to working with Prelude and Premiere Pro. We’re really excited about its possibilities and the opportunities that for example, Adobe Anywhere might also offer in future.
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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:
Production company standardizes on an Adobe Creative Cloud workflow to efficiently deliver up to 28 TV episodes per week
For more than 20 years, UFA SERIAL DRAMA has produced some of the most popular serial dramas in Germany. Classic shows such as Good Times, Bad Times (Gute Zeiten, Schlechte Zeiten) and Among Us(Unter Uns) have been on the air for more than 4,000 episodes each. UFA SERIAL DRAMA currently runs five daily shows and can produce up to 28 episodes in a week; for this team efficiency is key. Post-production supervisor Marc Schwellenbach works with the post-production teams to continually refine and optimize the standard workflows to be as quick and smart as possible.
Adobe: Tell us about the shows you produce through UFA SERIAL DRAMA.
Schwellenbach: We produce five unique daily serial dramas, which translates to 800 minutes of material every week. Four of our shows run in Germany. In fact, the first series that we produced back in 1992,Good Times, Bad Times (Gute Zeiten, Schlechte Zeiten), was the first daily serial drama made for German television. It’s still on the air; we passed the 5,000 episode mark a few years ago. Even our “newest” series has been around for eight years and nearly 2,000 episodes. Our fifth show is actually a serial drama made for Hungarian audiences. It’s been running for 16 seasons, and it’s one of the top-rated shows in Hungary.
Adobe: Why are production workflows so important to you?
Schwellenbach: We work on five shows that run five days a week with almost no breaks. To get all of the shows ready for air, we may produce up to 28 episodes a week. We need a rock-solid workflow to keep up the pace without compromising quality.
We have one big advantage on our side: experience. We’ve learned over the years to take the time to think through our workflows and look for ways to improve them. We take it a step further at UFA SERIAL DRAMA by standardizing about 90% of our workflow across productions. If one team comes up with a new process that helps them work faster and better, we can easily apply their innovations to other teams.
Adobe: How has your software changed over the years?
Schwellenbach: Several years ago, we switched from Avid to Final Cut Pro with the intention of becoming more flexible and speeding up workflows in post production. We worked with the Final Cut Pro workflow for a few years, but we felt that we still needed to move our editing process to the next level. By better integrating editing into the rest of the post-production workflow, we would improve turnaround speed for dailies and increase our overall speed and efficiency.
We recently started looking into Adobe Premiere Pro, and that’s when we realized the advantages that we could achieve using the integration between Adobe creative applications. With Adobe Creative Cloud, our workflow has not only gotten faster, but also tighter. We’re tying everything together into one smooth Adobe framework, which helps us get much more power and flexibility out of our daily workflows.
Adobe: How important is the integration of Adobe tools to your workflows?
Schwellenbach: We had used Adobe After Effects and Adobe Photoshop before, but we had never considered how everything could work together in a bigger way. The integration among Creative Cloud applications not only changes how we work, but it encourages us to think about how all of the steps fit together to create the big picture.
Previously, our post-production artists would use After Effects to composite green screen shots and hand the finished shots over to the editors. The Dynamic Link between After Effects and Premiere Pro simplifies things so much. Even our editors who are not visual effects artists use After Effects to create their own graphics, or use templates we’ve created for graphical inserts, such as cell phone displays. They can then easily bring these effects into their Premiere Pro workflows. Edits and adjustments are practically seamless, as we no longer need to wait to export and import clips. We can be much more flexible while maintaining consistent information on the shots.
We also appreciate how Adobe software invites collaboration. We see lots of great third-party integrations, and with Adobe XMP and panel integration, we can even see ourselves leveraging metadata to develop our own integrations as we need them. The Adobe framework opens up whole new ways for us to speed up and simplify the workflow.
Adobe: What steps did you take to transition to Adobe Premiere Pro?
Schwellenbach: The key to a smooth transition is planning and communication. When you’re changing a key component of your workflow, you have to make sure that you think through everything beforehand. We didn’t want to even start the move until we were sure that our editors would be able to work faster right away. We talked with editors about the changes that they wanted to see and used their input to design the new workflow. Giving them ownership of the transition helped to assure them amidst the changes.
Trainers worked with our editors to help them feel comfortable with the new software and features. The entire transition felt very collaborative with Adobe, with everyone coming together for a common goal. As a result, our transition has been very smooth. Two teams have completely switched over to Premiere Pro with more still in the final training phases. Our editors are very pleased with the ease and functionality of Premiere Pro. Other departments have also successfully made the move to Creative Cloud.
Adobe: Are there any other applications in Creative Cloud that you’re excited about?
Schwellenbach: Adobe Story CC Plus looks very interesting and has definitely caught the eye of our head writer. We’re currently syncing Word documents with our scheduling system, but Story will help us leverage metadata in the scripts so that we can see exactly what we need in post production.
Adobe Prelude CC is another piece that’s bound to be very useful. We’re always talking about logging on set, and Prelude and Live Logger will provide us a way to log information on set and preserve that metadata in Prelude for the post-production process. We’re already using a digital movie slate integrated into an iPad app, so I could see us using Prelude Live Logger right away.
Adobe: What is the future for UFA SERIAL DRAMA?
Schwellenbach: We started using Adobe Creative Cloud for teams, but we’re switching to Creative Cloud for enterprise as our business continues to grow and use of the software expands. We’re also talking to other businesses in the UFA family. We’ve developed powerful workflows for our fast-paced production and along the way we’ve learned a lot about working with Adobe software. We look forward to sharing our knowledge and best practices with other UFA productions.
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