Our vision for our mobile apps is to push the boundaries of where and how you can create. Whether you’re capturing inspiration on the go, sketching your ideas on the fly or compositing photos, these mobile apps are fundamentally connected by your Creative Profile and help make your graphics, colors, brushes available to you as you move from app to app and from your phone to desktop.
Stay tuned for more updates as summer approaches.
At its heart, Creative Cloud is all about collaboration. It brings different creative professionals—designers, illustrators, video artists, web developers, and others—together and helps them work efficiently and spend more time being creative.
Sharing folders and Libraries; two primary ways to collaborate using Creative Cloud.
Collaborate with files
Real projects are seldom single files. Even the simplest project has multiple design assets: documents, fonts, graphics, illustrations, and so many more. Also, it seldom happens that you’re working in isolation. In the real world, you need to collaborate with other creatives, service providers, vendors, and, of course, customers.
You can use Creative Cloud Assets to collaborate on single files or a folder of files. All collaborators then have access to the actual files that they can view and work on. This collaboration greatly reduces the work of “zipping” files and folders and then having to keep track of the various versions. All collaborators synchronize these files on their computers; Creative Cloud for desktop app keeps all files in sync and makes sure that everyone has the latest and greatest copy.
Collaborate with Libraries
Creative Cloud Libraries are collections of creative assets and design elements that you can use across Adobe desktop and mobile applications. When you share a library, collaborators can contribute assets to it. Libraries are a great way of organizing team-level assets and artifacts, and maintaining consistency across large projects.
Once ready, you can share the library with other members of your team, so that everyone is using the same approved assets. Use Libraries to quickly transfer design assets across your team for use in a growing list of supported apps on both mobile and desktop. Your team can then work on projects whenever they feel inspired. You won’t have to worry about stray versions of assets and can rest assured that all deliverables adhere to and use the correct design elements.
You can invite someone to share files and Libraries using the Creative Cloud website or from within the Creative Cloud desktop applications that support this feature. At the time of writing this blog post, Adobe Photoshop CC, Adobe Illustrator CC, and Adobe InDesign CC are the Creative Cloud desktop apps that support library collaboration. In addition, you can access and use library assets from within several Adobe mobile apps. Collaborators are authenticated using their Adobe ID or Enterprise ID. If some collaborators don’t already have an Adobe ID, they’re given the opportunity to create one.
Looking for more information on collaboration in Creative Cloud? Check this list:
- Creative Cloud Help | Collaboration FAQ
- Creative Cloud Help | Collaborate on folders and libraries
- Creative Cloud Help | Creative Cloud Libraries
- Creative Cloud Help | Creative Cloud for desktop
- Creative Cloud Help | Browse, sync, and manage assets
- Creative Cloud Learn & Support
That’s our perspective on Creative Cloud collaboration; let us know how you’re using these features in your workflows.
Creativity is about to get a lot more colorful: Updates coming to Creative Cloud pro video tools.
Adobe announced today a new wave of major updates for video pros coming soon to Creative Cloud. New versions of the video tools and services, including some brand new apps, will be presented next week at National Association of Broadcasters (NAB) tradeshow.
Visitors to the show will see a new Color workspace and a Lumetri Color panel in Adobe Premiere Pro CC, which offers an entirely new color workflow for editors; Adobe Character Animator, an amazing (and fun) interactive desktop animation tool; expanded scope for collaboration with Creative Cloud Libraries and Adobe Anywhere; “Project Candy,” an innovative mobile technology, currently under development for capturing and sharing Looks; and lots of cool new Adobe Magic that makes it easy to accomplish tasks that would have been difficult or impossible before.
Watch our NAB 2015 webcast shot live on the show floor. See Jason Levine demonstrate and explain the top features coming soon to the Adobe video tools.
Watch Al Mooney’s overview video introducing key video features in the next release:
Key themes of the upcoming release
- New color workflows that make color an integral part of the creative process, including the Color workspace in the Lumetri Color panel and scopes in Premiere Pro CC and new Look support in Creative Cloud Libraries.
- Mobile apps and integrations that extend the creative process, such as a streamlined workflow for opening Adobe Premiere Clip projects in Premiere Pro CC, and new mobile capture technology, Project Candy, for creating Looks to enhance the appearance of video footage.
- Deeper collaboration for all—from small teams to large enterprises, including asset sharing via Creative Cloud Libraries for mobile-to-mobile and mobile-to-desktop workflows. And Adobe Anywhere, coming soon in two versions, offering collaborative editing workflows for teams of all sizes.
- Tools and features that empower artists to create more and deliver faster: Adobe Character Animator, Morph Cut in Premiere Pro CC, Time Tuner in Adobe Media Encoder CC. Preview enhancements and Face Tracker in Adobe After Effects CC, and more.
Innovations like these are driving adoption of Adobe video workflows: recent Premiere Pro CC converts include the four-time Academy Award winning Coen Brothers, who are currently editing their film, Hail, Caesar!; and director Rhys Thomas and producer Lorne Michaels of NBC’s Saturday Night Live, with Staten Island Summer, a Paramount Pictures production, due out in 2015. In addition, MLB Network switched their editing and post-production environment to a complete Creative Cloud workflow.
“From script to screens, Adobe is delivering advanced workflows for every step of the creative journey. The industry is switching to Premiere Pro CC and our tightly integrated set of video tools because of the constant stream of innovation coming from our labs,” said Steve Warner, vice president of digital video and audio at Adobe.
“Our move to Creative Cloud, with deeply connected mobile-to-desktop workflows and services that make your assets available to you as you move from app to app, ensures our customers have the tools and services to create stunning videos, TV shows, films and commercials faster than before.”
Adobe Premiere Pro CC
Editors have a lot to look forward to in the next release of Premiere Pro CC, starting with the all-new Color workspace and Lumetri Color panel providing powerful, yet easy-to-use, color tools inside Premiere Pro CC. Further extending their creative color workflows, Premiere Pro CC users will be able to apply Looks captured in the real world with Project Candy to add emotional impact and visual appeal to videos. Looks and graphics elements will be easily accessed in the application via Creative Cloud Libraries. Task-Oriented Workspaces organize the User Interface for the task at hand. Editors can also create and save custom workspaces to include the windows, tabs and tools that they use most.
It will be much easier to deliver polished interview content by smoothing out jump cuts in talking head shots with Morph Cut. Improved integration between Adobe Premiere Clip and Premiere Pro CC will offer a seamless transition from the mobile editing experience to the power of a professional desktop NLE. Other features coming in the next release include more streamlined audio workflows, caption burn-in, improved Mercury Transmit performance for external monitoring with third-party I/O hardware, support for Windows touch devices, new editing refinements, and even more file format support.
The ability to shape light and color is integral to the process of working with moving images,” said Al Mooney, senior product marketing manager. “Color tools should enable play and experimentation. They should be approachable, easy to understand, and easy to include in your post-production workflow.”
To learn more about what’s coming next, visit the Premiere Pro blog.
“Project Candy” is the code name for an amazing new mobile technology, currently under development, that allows users to capture light and color from the things they see around them and save the results as Looks. Looks are like grading presets used to enhance the appearance of video footage, like those you can create in Adobe SpeedGrade CC or now in Premiere Pro CC.
“The brilliant thing about Project Candy, is that you don’t need to know anything about color grading to use it,” said senior product manager Patrick Palmer. “In the past you would need to be an expert colorist to match the Look of a scene in real-life. With Candy, you just need your phone.”
Looks saved in Project Candy are automatically available in Premiere Clip, Premiere Pro CC, and After Effects CC via Creative Cloud Libraries, where they can also be shared with colleagues.
Learn more about Project Candy on the Moving Colors blog.
Adobe After Effects CC
The next release of After Effects CC will instantly feel faster for users, making it easy to explore their creativity while interacting with the software in new ways. Uninterrupted Preview allows users to explore design ideas, adjust properties, and even resize panels without stopping playback. Simplified Previews offers intuitive default behaviors to help new users get up and running faster while allowing experienced After Effects artists to customize their preview options to fit their preferred workflow.
“The preview enhancements in the coming release provide a more responsive and dynamic environment for motion graphics and visual effects work,” said Todd Kopriva, product manager for After Effects. “This allows artists to focus on the creative process and stay in the creative zone with fewer distractions or interruptions.”
Connected creativity takes a leap forward with Creative Cloud Libraries, putting assets right at the artist’s fingertips, including images, Looks, color swatches and vector graphics from other desktop and mobile apps like Adobe Shape CC.
Face Tracker is a new feature that makes it easy to map facial movements with exceptional accuracy, managing the level of detail you track. Users can use simple mask tracking for fast tracking (for example to blur out someone’s features) or use more detailed point or measurement tracking to apply precise effects, or export tracking data to Adobe Character Animator. Other enhancements in the new release include a more adaptable user interface and support for using touch controls to navigate between panels within the app.
Learn more about what’s coming next on the After Effects blog.
Adobe Character Animator (Preview)
Adobe Character Animator offers a groundbreaking new experience for After Effects users—using the computer’s webcam and microphone along with keyboard and mouse interaction allows users to animate characters created in Adobe Photoshop CC or Adobe Illustrator CC in real time, shaving many hours off the creative process.
“Character Animator makes it incredibly easy to bring life-like behavior figures and insert them into scenes including other actions like wind or snow,” said Kopriva. Users can record multiple takes and then stitch together the best performances for a great result. The best thing about it? It’s so much fun to use!”
Learn more about Character Animator on the After Effects blog.
Adobe Media Encoder CC
The next release of Media Encoder CC includes Time Tuner which lets editors and broadcasters automatically adjust the duration of broadcast deliverables—without time-consuming micro-editing. Time Tuner will be available in the next release of Media Encoder CC. Video pros will also be able to output multichannel audio with new Dolby Digital and Dolby Digital Plus support in Media Encoder CC. And we’re adding support for encoding and decoding of JPEG 2000 in an MXF wrapper.
Learn more about what’s coming to Media Encoder CC on the Premiere Pro blog.
Adobe Audition CC
Editors and audio pros can get right to work, streaming native video formats inside the next release of Audition CC with Dynamic Link video streaming, and review full screen video on a separate monitor while editing audio. Live relinking allows users to replace assets within an open project and retain edits made to original clip.
Learn more about what’s coming next on the Adobe Audition blog.
More video updates
Record voiceover with your video capture as audio notes or for on-location reporting in Adobe Prelude CC. Bring editing projects into the Adobe SpeedGrade CC with Direct Link, now including support for the new Premiere Pro Lumetri color tools.
Adobe Anywhere is a breakthrough workflow platform that lets workgroups using Premiere Pro CC and Adobe Prelude CC collaborate with centralized media and assets across standard networks. Adobe Anywhere will soon be offered in two versions. A new, more cost-effective version of Adobe Anywhere will be available for teams of all sizes collaborating in a single location. Anywhere with Mercury Streaming Engines allows enterprise workgroups in multiple locations to work together on projects with shared access to all assets.
“The digital world is a connected world,” explained Bill Roberts. “Modern creative tools should reflect this and empower collaboration, whether in simple ways, like showing a client your work, or in complex remote production settings where artists around the world can work together on the same content even at the same time.”
Video professionals can get our best offer yet—40% off on Creative Cloud Complete
Join Adobe Creative Cloud Complete by May 29, 2015 and we’ll give you 40% off for your first year—that’s only US$29.99/month. Whether you’re moving up from Creative Suite, or moving over from Apple Final Cut Pro, Avid Media Composer, or Grass Valley Edius, there’s never been a better offer for joining Creative Cloud. Some conditions apply. Learn more.
“These new releases mark a significant step forward in our vision for a truly dynamic creative environment,” said Bill Roberts, senior director of product management. “In the past, production pipelines have tended to be strictly linear with functions such as VFX and Color Grading being relegated to the end of the process, but connected creativity is much more freeform and great ideas can come at any point in the production process. Creative tools should work the way creative people do, and not the other way around.”
Watch our NAB 2015 webcast shot live on the show floor. See Jason Levine demonstrate and explain the top features coming soon to the Adobe video tools.
2015 promises to be a memorable year for #TeamAdobe at #NABShow. In addition to all the exciting things that will be shown at the Adobe Booth SL5110 (check our booth schedule), including amazing presentations from top Adobe customers like YouTube megastar Devin Supertramp, Aaron Brenner of the LA Kings Kings Vision, and Dan Dome from Late Night with Seth Meyers, Adobe team members will be participating in all sorts of panels and presentations… AND the team is growing.
This post is your one-stop-shop for all things Adobe at NAB—mark you calendars and be sure to stop by and say hello!
Broadening your NAB perspective—Social Media Insiders
There is so much to do, see and learn at NAB. With most of the Adobe team holding down the fort at the Adobe booth, we realized we needed help to bring all the exciting things going on at NAB to our community. So this year we’ve enlisted the help of two awesome Adobe NAB Social Media Insiders. They’ll be using Adobe tools to create video content highlighting some of the coolest, most fun, most pertinent events, topics and announcements going on at NAB 2015. Meet our Insiders:
Jesse Averna (@Dr0id) is, for the last six seasons, the series editor for Sesame Street, for which he has won four Emmys and was just nominated for his fifth. Jesse also teaches Continuing Ed at the School of Visual Arts, recently directed a new children’s series Monica’s Mixing Bowl and is in active development on his own film. He also leads a weekly Twitter chat every Wednesday night for Post Professionals, called #PostChat. When Jesse’s not engaged in the above, or spending time with his family, he’s editing recap promo’s for SyFy’s 12 Monkeys. Basically, he’s a workaholic insomniac with a love for his daughter, Post Production, monsters and droids.
Ko Maruyama (@ninjacrayon) is a lead animator and creative director based in Los Angeles, California and teaches motion design and animation at Art Center College of Design in Pasadena, California. Maruyama has been using Adobe products for over two decades, but continues to seek out any tool that helps him realize animation. While teaching, Ko continues to work on many commercial, promotional, and film projects with clients in all major networks and film studios. His broadcast animation work has earned several awards and nominations, including Tellys and BDAs. In addition Maruyama also manages the Digital Media Artists of Los Angeles, a user group for video creatives throughout the greater Los Angeles area.
Be sure to follow our Social Media Insiders at their handles, and follow along with #TeamAdobe at #NABShow on one or ALL of the following channels:
The schedule of events
Monday April 13
CREATIVE MASTERS SERIES | Adventures in Filmmaking: From Saturday Night Live Shorts to A Feature Film
About: Saturday Night Live’s Adam Epstein will talk about his creative journey, from creating short films for Saturday Night Live to his feature film Staten Island Summer, as part of the NAB Creative Masters Series. Moderated by Meagan Keane, senior marketing manager, Adobe.
PANEL / MIXER | Working Together to Close the Gender Gap in Post Production
When: 5:00pm–7:00pm followed by a mixer hosted by Adobe
About: Fifty percent of media education and training programs are female while only 18% of editors in Hollywood and beyond are women. The visibility of women in producing and coordinating roles is often cited, but there is an undeniable gender gap in technical roles—editing, visual effects, or sound design—and that gap has only widened since the 1970s. This panel will discuss the impact of gender equality in the post workplace, strategies for recognizing and un-learning our own internalized sexism, and how we can all work together to adjust hiring practices and erase gender biases in order to ensure the future of women in all post production roles.
Panelists: Kylee Wall, freelance editor and industry writer; Siân Fever, freelance editor; Megan McGough Christian, production manager for PBS Frontline; Ellen Wixted, senior product manager, Adobe. Moderated by Amy DeLouise, Amy DeLouise Consulting.
Tuesday April 14
PANEL | Update on Industry Cloud Tenants: Key Leaders Speak
About: Panelists from each phase of the content chain will provide an overview of current cloud technologies and use in the M&E Industry. The panel will give thought leadership on where and how the industry will change over the next year.
Panelists: Bill Roberts, sr. director of professional video product management, Adobe; John Engates, CTO, Rackspace; Bill Neuman, VP of products, Avid; Brian Stevens, VP, cloud platforms, Google; Ben Masek, CTO, Sony Media Cloud Services. Moderated by Al Kovalick, founder, Media Systems Consulting.
LAS VEGAS SUPERMEET | Adobe Presentation by Al Mooney
Where: Riviera Hotel, Royale Ballroom
About: Increasingly editors are expected to do more—from finessing audio to color correction and motion graphics work—earlier and earlier in the editing process. Adobe Premiere Pro has come to be known for its unparalleled innovation addressing the needs of editors through every step of the editing process. Al Mooney will demonstrate how, through Creative Cloud, new features and workflows will continue to make Premiere Pro CC the market leading NLE.
Wednesday April 15
PANEL | TV Everywhere: What Lies Ahead?
About: The future for TV Everywhere depends upon successful business models. Learn about legal, technical and monetization efforts crafted by the broadband and wireless industries. Look at the lessons learned about live-linear OTT along with effective dynamic ad replacement and discuss how broadcasters will share in this future.
Panelists: Jack Perry, founder/CEO, Syncbak, Inc.; Paul Mears, senior vice president client engineering, The Nielsen Company; Campbell Foster, marketing director, Adobe Media & Ad Solutions. Moderated by Sam Matheny, EVP/CTO, NAB.
CREATIVE MASTERS SERIES | Breaking the Hollywood Mold: Finding Success on YouTube and Beyond
About: As more and more content is bypassing the traditional Hollywood filmmaking and distribution process and moving online, the defined roles in filmmaking have blurred. Today, “do-it-all” filmmakers are emerging to take the spotlight. Join the brightest upstarts in the industry as they discuss what it takes to produce, direct and edit high-production, thought-provoking content designed for online distribution.
Panelists: Seth Worley, filmmaker, Red Giant Films; Ryan Connolly, filmmaker, Film Riot; Sam Gorski, filmmaker, Corridor Digital; Niko Pueringer, Corridor Digital. Moderated by Dave Werner, Adobe.
The latest addition to our family of mobile apps is a powerful tool for visual thinking and a new connection between the mobile and desktop applications in Creative Cloud.
Announcing Adobe Comp CC, a free app for the iPad that enables the rapid creation of layout concepts for mobile, web, and print.
The road to product launch
When we began adding connected mobile apps to Creative Cloud, we knew they would change the way people worked. We knew that enabling people to work (really work) away from their desks, capturing thoughts and ideas and concepts as they flew through their minds, that we could enhance the creative process.
Built on the Adobe Creative SDK, Comp CC couples intuitive iPad gestures, fonts from Typekit, and the personal assets stored in Creative Cloud Libraries to provide designers with the perfect mobile brainstorming and layout work surface. Then, with a single click, comps can be sent to Adobe InDesign CC, Adobe Illustrator CC, or Adobe Photoshop CC (where CC Libraries assets and fonts from Typekit are also synced) to fine-tune and finish the work. It’s this powerful connection back to the desktop, where designers do so much of their work, that makes Comp CC, and all of our mobile apps, so valuable.
The app made its first appearance at Adobe MAX in October 2014 when Khoi Vinh, former design director of the New York Times, revealed it, and his collaboration with Adobe, during the Project LayUp Sneak. He said of that collaboration, “The company’s deep expertise in creative software plus the comprehensive power of their Creative Cloud platform were essential to this product—only Adobe could have brought Comp CC to life.”
From brainstorm to layout
As energetic as sketching with pencil and paper, Comp CC, amps up the ideation phase of the design process. Then it enables designers to add polish to the quick-gesture comps with custom type and personal creative assets.
But the true beauty is in how those ideas, achieved rapid-fire no-holds-barred, are managed. No need to save ideas that may or may not make the cut. A single source file and a rich history feature mean that every iteration—that’s every single version of every single layout—is saved. No need to distinguish between creative genius and creative missteps; a quick drag of a few fingers left or right on the screen move through the file backward or forward in time, to view every comp.
What’s more, at any point it’s possible to pause. And export. Not just a .jpeg or .png, but an InDesign CC, Illustrator CC, or Photoshop CC file with live, native objects. So… Comp CC moves effortlessly between quick-sketching brainstorms on mobile, to our desktop application, to refined output. All without ever leaving Creative Cloud.
Scott Belsky, vice-president of products at Adobe sums up its power: “Comp CC takes advantage of the iPad’s advanced touch screen with an intuitive interface and makes the beginning of the design process integral to the finished result. Doing creative work on a mobile device is only useful if the results can be opened on the desktop, where the project can be perfected in a precise, professional-grade tool like InDesign or Photoshop.”
A family of connected apps
Comp CC joins Adobe’s family of Creative Cloud mobile apps: Adobe Illustrator Draw, Adobe Illustrator Line, Adobe Photoshop Sketch, Adobe Premiere Clip, Adobe Photoshop Mix, Adobe Shape CC, Adobe Brush CC, Adobe Color CC and Lightroom mobile for iPhone, iPad and Android.
Capture a layout wherever. Capture a layout whenever. Capture a layout now. Download Comp CC.
Adobe Creative Cloud. Where innovation is ongoing. Give it a try. It’s free.
Are you a student looking to showcase your talent, get advice from top-tier professionals, gain invaluable real-world experience, and build your portfolio? If so, Adobe has the perfect opportunity for you:
We’ve teamed up with Marvel to make comic book history and give you a chance to apply your cutting-edge skills.
What’s the deal?
We’re looking for four (4) students with four (4) distinct styles to team up with Marvel pros to create a limited-edition Avengers comic, powered by Creative Cloud, to debut during San Diego Comic-Con.
If chosen, you’ll contribute to a new Marvel comic, get a ticket to San Diego Comic-Con, and a one-on-one portfolio review with the Marvel pros. Your comic will also be printed and distributed in comic stores across the United States. (You may also be featured on the Adobe Students social channels to help your portfolio stand out to future employers.)
Who we’re looking for
Students (in or outside the USA) aged eighteen (18) and over, who are passionate about illustration, digital media, animation, and comics. Since storytelling is crucial in comic books, we’ll be keeping an eye out for sequential samples, regardless of style.
How to be considered
Tag your best original non-Marvel work on your Behance portfolio with #madethis #Marvel. If you don’t have a Behance portfolio, you can make one by simply signing up on Behance and uploading your work.
Work must be tagged on Behance no later than April 13, 2015 for consideration.
Some questions and answers
- Who’s eligible to participate? Currently enrolled students from all majors and backgrounds. You must be over the age of eighteen (18).
- I don’t live in the US, can I participate? Yes. The opportunity is available globally.
- Will I be paid for my work? Yes. Each selected student will receive a cash payment.
- Will hotel and accommodations be taken care of at San Diego Comic-Con? Yes. The selected students traveling to San Diego Comic-Con will have transportation and hotel accommodations planned and paid for by Adobe, as well as a daily stipend.
- I’m from outside the US, will my visa be taken care of? If you’re chosen, you will be responsible for applying for your visa. It can be completed by visiting esta.cbp.dhs.gov/esta and following the application directions. We will reimburse you for any costs needed to obtain your visa.
- Do I need Creative Cloud to participate? You will need a Behance portfolio and Creative Cloud skills. If you aren’t already a Creative Cloud member, download free trials of the Creative Cloud apps.
Turning proof-of-concept shorts into feature film deals with Adobe Creative Cloud.
Soon after its release, Project Kronos was an Internet hit on YouTube and Vimeo. Viewers loved the gritty documentary feel of the fifteen-minute short created on a budget of just £3000 by Hasraf “HaZ” Dulull entirely with Adobe Creative Cloud applications, including Adobe Premiere Pro CC, Adobe After Effects CC, and Adobe Photoshop CC. Hollywood loved it, too. So much so, that HaZ was able to win his first feature film deal for a full-length version of the space exploration drama.
Hollywood is a long way from the buzzing streets of central London where HaZ grew up. As a boy, his interest in cinema was first piqued by VHS videos of Blade Runner and Alien. Fascinated by the special effects, the youngster carefully reviewed scenes, trying to discern how they were created. Meanwhile in school he started playing around with an early version of the Paint application. “The school computers wouldn’t let you save files, so day after day I would create the same image, improving it as I went along,” he recalls. “I got pretty good at pushing pixels that way.”
At sixteen, he got his first computer and was soon a keen gamer. His interest in pursuing a career in game design led him to choose Computer Science, Technology, and Design for his A Level exam subjects. As part of his schoolwork, he created and animated a film using 4-bit images. From there HaZ went on to study media communications and for his dissertation on video games he created a simple horror game.
From game cinematics to cinema
That helped him land his first video game job creating cinematics, the short films that serve as introductions to video game narratives and as “cut scenes” between levels. “By now I was working with the first wave of digital tools, including Alias Wavefront for animation, Photoshop for painting, Combustion for compositing, and Avid for editing,” says HaZ.
“After a few years, I asked myself: ‘Why am I doing this?’ Why not work on actual films,” he continues. “So I got my first film job at the Moving Picture Company in London.” Starting in 2003, he worked his way up from compositor to lead compositor, finally becoming VFX supervisor on broadcast series such as America: The Story of US (History Channel) and Planet Dinosaurs (BBC), both of which earned him award nominations in 2011.
As a VFX supervisor he was soon working shoulder to shoulder with directors. “That became my film school,” he says. “I was helping filmmakers plan their productions in a way that avoided problems in post-production. This didn’t just teach me about the process of filmmaking, it deepened my understanding of storytelling and how each aspect of a film, if done right, supports the larger narrative.”
The role of VFX supervisor is an interesting one and tells us a lot about the evolution of filmmaking today. Originally, the VFX supervisor was brought on set to bridge the gap between filming and post production. They ensured that shots were captured correctly for efficient post-production and high-quality visual effects. Sometimes VFX supervisors even directed segments themselves. But the role has grown as the place for visual effects in filmmaking has matured. “As a VFX supervisor, I’m working with writers actors, directors, producers, executives,” says HaZ. “We’ve become very influential in the storytelling process and we’re usually brought in now during development, before the script is even green lit.”
Pitching feature films in Hollywood
Meanwhile, HaZ himself was also evolving and the idea for Project Kronos was born. “Project Kronos was the right thing at the right time,” he explains. “Gravity was hitting theaters and Interstellar was in production. Space stories were hot.” Project Kronos was picked up by Armory Films and Benderspink to turn into a full-length drama with HaZ attached to write and direct. All of a sudden, he was being asked to pitch ideas for other films.
“Now I go into the meetings as a director and a writer,” he says, “and I don’t just bring a script with storyboards. I cut a short teaser of the film to show the studio execs what the film will look like. And I’m not just showing them the story, I’m showing them how it can be made.”
The approach has worked. In short order HaZ had three films in development with a fourth in the works. “It really helps that I can knock out the videos fast,” he explains. “Once I even cut a pitch trailer on the plane, on the way to Los Angeles. It’s so easy now: boot up the laptop, open the Creative Cloud apps and just get to work.”
The process itself is not new to him, just the ease with which he can do it. “I’ve been doing proof of concept stuff for a long time, but it used to be with disconnected tools,” he says. “With Creative Cloud I don’t have to deal with that anymore. I just bring everything into Premiere Pro CC and then connect the pieces. It makes it so much easier to sell an idea when you can show it already visualized.”
Building pitch trailers with Creative Cloud
One of the new projects is called Sync. Unlike Project Kronos, which is styled like a documentary, Sync is a sci-fi thriller. “I wanted to show I could create the kinds of action films that studios are often looking for from young first-time filmmakers,” he says.
He even created a kind of pre-teaser to show potential collaborators what he wanted to make, including grading with Adobe SpeedGrade CC, to create atmosphere, and VFX created in Photoshop CC and After Effects CC. “That worked,” he smiles. “My test shots generated interest and I found my crew and actors just by showing it around.”
While shooting the Sync teaser, HaZ and his team were already doing rough assembly, which was easy, since Premiere Pro CC supports the native files right out of the camera. From there the short film was built stem-to-stern in Creative Cloud. “Adobe isn’t just creating tools, they’re creating workflows,” says HaZ. He is proud of this project, which he feels includes elements of Blade Runner, one of his first movie loves.
I.R.I.S, a third feature film project, combines the documentary storytelling style of Project Kronos with the sci-fi thriller genre of Sync. In this story, the globe is surrounded by miniature drones which, using sophisticated artificial intelligence, monitor and police human activity.
I.R.I.S. was created using the same workflow as Project Kronos and Sync. As with those shorts, HaZ made extensive use of After Effects CC for compositing CG elements into the live action, as well as augmenting stock footage. HaZ created I.R.I.S. before Sync but it was released afterwards. “It was a project I developed with another production company in Los Angeles to pitch as a feature film,” explains HaZ. “We never intended to release this one as a short film, but after all the buzz around Sync it made sense to make this public, too.
“I asked my DP on I.R.I.S. if he could find some guys who could help out as marines in the film. When I turned up on set these guys were fully kitted out with enough weaponry to start a small war—all replicas of course! They were awesome to work with and totally loved films like Aliens, so directing them was a blast. Naturally, I used them again on Sync for much bigger action scenes.”
A playground for developing ideas
As all of these short film projects show, Creative Cloud gives HaZ a digital playground for developing ideas. The result in each case is not just a story idea, but clear ideas for how to make it efficiently and cost-effectively. For example, HaZ has made extensive use of Adobe Audition CC to map out audio for his projects. “Sound studio time is really expensive, so it helps a lot if I can show exactly how I want the audio to be done, and the audio people end up using many of the original sound elements I created,” says HaZ. “And I’m not even an audio guy!”
The design tools have also proven useful in fleshing out concepts. “For one project I was asked how I thought it could be marketed, so I grabbed some stills and designed a poster for the film,” he says. “Typekit is a lifesaver for me, too—not just for making posters, but for titling and design elements within the films. I also used Creative Cloud Assets to create graphics in Sync. I don’t want to be thinking about tools when I’m doing my work. Everything I need I already have in Creative Cloud.”
After a year of polishing the script, HaZ is now gearing up for his feature film directorial debut on Project Kronos, which will go into production in 2015. While this will bring new experiences, he feels very much at home in the process. “I don’t need to worry about post, or editorial, because I know I have all the tools to get the job done.
In case you missed it… from October 2013, Creating a Great Pitch Trailer for your Feature Film, an Ask A Pro session with HaZ Dullul.
(HaZ is represented by manager Scott Glassgold of IAM Entertainment.)
Aaron Draplin is joining Adobe at HOW Design Live.
And, in collaboration with Adobe and boutique printer Mama’s Sauce he’s also fronting Draplin in The Cloud—part commemorative poster design, part portrait of a new work process, and part collaborative art project—using Adobe Shape CC and Adobe Illustrator CC.
Draplin, along with Adobe evangelist Paul Trani will be presenting a lunchtime session titled Draplin Takes Mobile to Desktop about capturing shapes in Adobe Shape and taking them into Illustrator CC. He’ll also be presenting in the Adobe booth, a sort of reenactment of his design process.
He had a few things to say about this uniquely-challenging creative collaboration:
From shape to design. We know you’ve used Adobe Shape a bit. Tell us how you see it fitting into your design process long term? I’ll sketch something and take a shot of it, let the thing show up in my Library, and will have vectors to refine. From paper to digital, a little quicker. Then I’ll grab that vector, lock it on the art board, and draw over it, refining the idea. It’s another fun way to capture an idea. But mainly, it eliminates steps for me. Instead of having to shoot it with my phone, load the shots to my machine, let the cloud grab it, and then place the shot? From four steps to one.
The assets for this poster will be a compilation of vector icons solicited and gathered from other people’s Adobe Shape CC captures. Tell us a bit about how you think that will work. The world’s moving faster and faster. I’m having to learn new ways of capturing my thoughts, based on what’s within an arm’s reach—paper, steamy shower glass, my desktop computer and, more and more, my phone. Using these new mobile apps, you can bridge that gap. Quick and clean. And I’m starting to rely on it in my process.
It will be fun to see stuff come flying in, out of my control. And then, making new out of it all. That randomness sounds fun. I’ll be at their mercy. Out of my element.
And about that… People on the Internet, whom you’ve never met, sending in submissions for you to design around; that’s a broad collaboration. Nothing can go wrong there, right? Not one thing. Ha! I mean, if it’s weird or mean or creepy, I reserve the right to hit the “delete” button. But for the most part, I anticipate the stuff being submitted with good spirit behind it. Let’s make something cool.
Mama’s Sauce: From Shape CC to Illustrator CC to screen print
This project wouldn’t have been possible without the participation of Mama’s Sauce, an incomparable boutique printer. Because their knowledge of hand-done print processes is profound, we dragged them into a conversation about this project and a larger one about vector-to-handmade printing:
When we said, “We want you to screen print a project that got its start on a smartphone with a mobile app,” did you want to run for the hills? No way. Screen print, letterpress, foil printing—they’ve all come a long way from painting on emulsion, moveable-type, hand carved blocks, chemical etching… you know, the historical processes of putting graphics in a form able of being printed on paper. While all of those are super viable still, each with their own purpose and/or aesthetic, these days, 100% of what we print in our shop comes from a digital or raster file. Considering that the average smartphone has more computing power than the spacecraft that brought us to the moon (you may want to fact check me), there isn’t much a phone can’t do these days. They’re certainly smart enough to produce vector and raster files. I mean, I do it all of the time with Adobe’s mobile apps. It’s crazy how I’m needing my computer less and less.
How do you feel about the concept now that you know a bit more about Adobe Shape and its integration with Illustrator CC? A light went off. I’m ashamed to admit it, but I didn’t realize that you could send files so easily right into our pre-press workflow. The idea of moving in that direction for receiving files is super appealing.
Talk a bit about how screen printing is the perfect complement to vector art and a digital process. It’s powerful when vector meets makers; and digital designers have embraced hand-made output in a big way. I don’t think anyone is forcing it either. It’s a natural fit. The more digital we get in our processes, the more people want to stay connected, not to fight progress, but to keep more options on the table. It’s happening in a multitude of ways too: People are scanning old wood type, exaggerating halftones in their designs, and creating aesthetics based on old production techniques that were once solely practical in nature. And when people wanted more out of the old presses, not just their type and halftone aesthetics, but rather the rest of their printing capabilities for their vector art… polymer plates came along. Modern plate-making for letterpress and modern film-making for screen print—these processes make old world printing the perfect complement for designers wanting to print work on a traditional press.
For anyone who might want to use a mobile-to-desktop-to-screen-print process, what’s most important for them to know? Begin where you are. If you see something inspiring and want to know how it would look 1-color, how it would vectorize, you can snap a pic and see that nearly instantly. Gone are the days where you have to email yourself a file, drag to the desktop, open the asset and then get to work. You work can begin wherever.
Draplin in The Cloud: The collaboration
Aaron will select shapes from online submissions and incorporate them into a commemorative poster which will be printed in a limited run of 1,000 and given away at HOW Design Live. (Not attending HOW? Don’t worry, the poster will also be available as a digital download.)
Wondering how to get a shape on Aaron’s poster? It’s pretty simple. Open Adobe Shape. Capture a shape. Submit it to Aaron through the app. Get more details from Collaborate with Draplin… as an alternative, the process in the words of Aaron Draplin:
Check our microsite to see what else Adobe’s got going on at HOW Design Live.
Google recently announced a change in their site-ranking algorithm to include mobile-friendliness criteria for mobile search results, that will go live on April 21.
If your Adobe Muse site isn’t yet built to support mobile, it’s time to consider creating a tailored experience for your site visitors, whether they’re viewing on a desktop, tablet, or smartphone. Adobe Muse has the tools you need to prepare your site for this change, and ensure Google search queries continue to drive maximum site traffic, leads, and new business.
Get started with this step-by-step tutorial How to create a mobile website with Adobe Muse.
For an in-depth understanding of this change, and recommendations for creating a mobile-friendly site, read Mobile-Friendly Sites and Google Webmaster Tools on the Adobe Muse engineering team blog.
Beginning May 1, 2015, Business Catalyst will no longer be included as part of Creative Cloud for new members. This change has no impact on current members, who will continue to have access to the service as part of their membership for as long as their membership remains active. Preview functionality from Muse will continue to be available for all Creative Cloud members.
We are continuously looking for opportunities to update our Creative Cloud offerings in order to focus on the features and functionality most requested by members. This includes adding new desktop and mobile apps, new features and services, as well as adjusting and changing the existing services and offerings. This change allows both the Creative Cloud and Business Catalyst teams to better focus their efforts on features for their respective members.