We wanted to share some information about support plans for the next major release of our Creative Cloud desktop applications:
The next major releases will run on Mac OS X 10.7 and higher. Users on OS X 10.6 will continue to be able to use their current applications, but will need to update their operating systems if they want to install and run the newest Creative Cloud releases.
We’re seeing a small percentage of our members on OS X 10.6 and wanted to let users know in advance, so they can prepare for the next release of our desktop applications.
We’re packing our gear for the Education, Interactive and Film Festivals at SXSW 2014. Next week, web designers, developers, filmmakers, educators and social marketers will descend on Austin, Texas—and, this year, Adobe has something for everyone.
We’re sponsoring the Razorfish, #UseMeLeaveMe Digital Campground (March 7–March 11) at 1206 E 4th Street in downtown Austin. Stop by our daily afternoon Happy Hours, grab something to eat, listen to live bands, make a videogram postcard in our decked-out Airstream trailer, and get your hands on some innovative technologies.
If video’s your thing
Jason Levine, Adobe’s worldwide evangelist for video apps/Creative Cloud, is leading a start-to-finish workflow session titled “Capture, Cut, Color, Deliver.” Or, sit in with Adobe marketing manager, Meagan Keane when she moderates “Content Creation with Soul” with Soul Pancake CEO and executive producer, Shabnam Mogharabi and her team. And, finally, don’t forget to come by the Adobe booth; during the Film Festival we’ll be in Exhibit Hall 4 of the Austin Convention Center with live demos, presentations and Creative Cloud workflow experts discussing our innovative apps.
Designing developing for the web?
Friday March 7 in the Riverside Ballroom at the Radisson Town Lake we’ll be holding our annual All-Day Creative Camp for web designers and developers. In addition to the Typekit pop-up library we’ll have five sessions all with topics focusing on shaping the modern web and, since making it through SXSW requires constant refueling, we’ll also have food (sliders, petit BLTs, gourmet popcorn) and a Happy Hour during our final session of the day.
Educating the next generation
Attending the SXSWedu Festival? Check out “Creativity in Education: A Call for Transformation,” Adobe’s panel on fostering and inspiring creativity in a new generation. Also, don’t miss our Creativity in Education Meet Up to network and learn about the proposed creative changes in education.
Keep tabs on Adobe during SXSW
Out desktop/mobile guide to everything Adobe at SXSW 2014
See you there!
Commercial television editor delivers stunning spots using an Adobe Creative Cloud workflow
Our friend Adam Pertofsky at Rock Paper Scissors has been busy these last few months. Since we last spoke with him, he’s completed the third part of the Captain Morgan series of commercials and cut three additional spots, one of which aired during the Super Bowl. We took a few minutes to catch up with him on his recent projects and use of Adobe Creative Cloud:
Adobe: Tell us about the Super Bowl commercial you worked on.
Pertofsky: It is the 60-second “Going All The Way” Coca-Cola spot that aired during the second half of the game. We worked on it with Wieden+Kennedy. I did all of the editing in Premiere Pro CC, as well as some color correction for the client presentation. It is a really sweet, classic spot that a lot of people will be moved by and enjoy.
Adobe: What other projects have you worked on?
Pertofsky: I cut a simple, funny commercial for Chevy that will air during the Winter Games. It was an easy process of working in Premiere Pro to do cuts and throw in some graphics using the Luma Key. I also used the title tool in Premiere Pro to set up a string of options for the creative director to look at and it was amazing and super simple.
Adobe: Did you use any other Adobe tools on this project?
Pertofsky: I’ve been using a lot of Adobe Media Encoder, which I find really fast and terrific. Recently, I was at my daughter’s volleyball practice and I needed to do some unexpected cut downs for the Chevy spot. I jumped into the back of my car, set up the project, did the cut downs, threw them into Media Encoder and was able to upload them using my phone.
Adobe: What’s the biggest project you’ve worked on recently?
Pertofsky: I cut a four-and-a-half minute commercial for Samsung with R/GA San Francisco. In the spot, aliens take over the earth and challenge the world to a game of football (soccer). It is a massive spot with a lot of variations and the version I worked on ties everything together. I used a lot of tools within Premiere Pro and a lot of After Effects CC, which was terrific. Reframing things and putting them in the right position before sending everything to the post house for final finishing was so easy and fast in Premiere Pro.
Adobe: How do you feel about the Captain Morgan series you completed?
Pertofsky: The last Captain Morgan spot came out great and I’m really proud of it. The project involved heavy use of After Effects and Premiere Pro. I love knowing that when I have a big effects gig going I have powerful programs that I can work with to make the offline presentation look good. For the Captain Morgan spot I used After Effects to create a garbage matte around an object that let me move things around easily and quickly, which was a huge help. Moving elements around and reframing is much easier and faster thanks to Dynamic Link; I can line everything up in Premiere Pro, quickly jump into After Effects, and then easily go back and open the project in Premiere Pro again with all of the moves applied.
Adobe: Now that you’ve been working with Adobe Premiere Pro CC for a while, have you made any new discoveries?
Pertofsky: One of the tools that works great in Premiere Pro is mixing on the fly. I can set it up, mix the spot, and it leaves keyframes behind that I can manipulate further later. A lot of times as I’m showing a rough cut to a client I’m actually mixing it in Premiere Pro at the same time. Then when they ask to watch it again, I’m just fixing the mix and it speeds up the whole process. This is also useful because clients don’t have the appetite to look at rough cuts, they want to see it as close to finished as possible without paying for it to be finished. We have to do as much as possible in the cutting room to make it look good. All of the LUTs that are in Premiere Pro are terrific for doing quick color changes.
Adobe: Are there any other tools that help speed your workflow?
Pertofsky: I have an NVIDIA Quadro K5000 and it makes me completely forget about rendering. With everything going in and out of After Effects and adding effects in Premiere Pro, it never slows me down.
Broadcaster uses Adobe Creative Cloud workflow to create opener promoting the winter games
The Winter Games are a chance for us to witness magic moments of incredible artistry and athleticism performed by the amazing athletes competing there. But in order for us to do so, broadcasters around the world spent months preparing for that short period of intense coverage. For Swiss Radio and Television (SRF), a publicly funded broadcaster serving the German-speaking part of Switzerland, the preparations included creating a stunning opener that builds excitement for audiences tuning-in to the games. Patrick Arnecke, head of design and promotion, leads the creative team responsible for design and production of the on air campaign.
Adobe: Tell us about the Swiss Radio and Television.
Arnecke: The SRF is a publicly funded broadcaster that serves the German-speaking part of Switzerland. We maintain two full-blown 24/7 TV channels, a TV repeat channel for news programs, seven radio channels, and an extensive online portal.
Adobe: What teams do you work with at the SRF and what do they produce?
Arnecke: I’m the head of the design and promotion team. The design team consists of 25 designers who do all corporate design, motion graphics and interaction design for SRF. Creatively they are responsible for channel branding, campaigns, image clips and labels as well as show packaging. We also do all of the 2D and 3D animation used for our TV magazines and news shows. The promotion team has eleven editors and promo producers who work on traditional on-air trailers as well as cross media campaigns.
Adobe: Tell us about the work you’ve done for the Winter Games?
Arnecke: Last year during the summer we started to rethink our overall sports design. We have various sports programs on air and wanted to repackage the whole set of shows for SRF zwei, our main entertainment and sports channel. We regularly cover huge events like the Winter Games for the Swiss audience, and we needed to come up with a solution for those events as well, and tie that into the overall design.
We decided to center our redesign around the core idea of the “magic moment”—those rare moments when extraordinary athletic performance seems almost supernatural. We then spent five days shooting all the necessary plates using RED Epic and Phantom Flex cameras, special camera rigs with a high speed camera carousel, and a huge 15m x 9m x 7.5m green screen area. Among other things, we staged ice hockey, alpine skiing, figure skating, snowboarding, ski jumping, and cross country skiing. Everything was conceptualized, directed, and pre- and post-produced by four in-house designers. From that footage we produced a 28-second opener for our Sochi coverage along with the show packaging, and the promo teasers that we used to ramp up the campaign in January.
Adobe: What products are you using to produce your content?
Arnecke: Right now we have a mix of Adobe Creative Cloud and Creative Suite 6 software. On the design team we use Photoshop, Illustrator, and InDesign. Our main tool for 2D animation is After Effects, and we rely on Cinema 4D as our main 3D package. The closer relationship between Adobe and Maxon and the strong connection between Cinema 4D and After Effects comes in very handy for our pipeline.
At the beginning of 2013 we started using Edge Animate to create small, interactive HTML5 elements to give our online news articles more depth and interactivity. For our video content, we started to work with SpeedGrade to give content from different sources a uniform look. During the last months we switched to Premiere Pro as our main editing tool, which replaces Final Cut Pro.
Adobe: What was the workflow for creating the Sochi opener?
Arnecke: In pre-production the responsible designers Martin Bernhard (director) and Simon Renfer (co-director) used Photoshop, with Wacom tablets and screens, to create the storyboards. On set and after the shoot was completed, we used SpeedGrade to convert the Phantom material and then edited the content in Premiere Pro. Lead 3D Artists Jürg Dummermuth and Simone Nucci did all of the 3D CGI with Cinema 4D. In addition to using After Effects for previsualization and animatics, it was also used for 2D animation, keying, rotoscoping, retouching, compositing, and grading. We’ve done a lot of smaller projects such as show openers and image trailers using Premiere Pro, but the Sochi opener is one of the biggest projects we’ve done to date with the new workflow.
Adobe: Why did you make the switch to Premiere Pro?
Arnecke: After Apple didn’t continue Final Cut Pro, we were looking for alternatives. The pipeline efficiencies that let us easily switch between Premiere Pro and After Effects are important to us. Premiere Pro is especially useful if we shoot on RED cameras because thanks to the Mercury Playback Engine we don’t have to convert and we can edit right away. We usually like to edit on set to see if what we’ve shot is exactly what we need.
Adobe: Tell us how you’re using Adobe Edge Animate CC?
Arnecke: We have a small team of designers who work on infographics for our daily news shows. We use graphical content created for on-air programming, add interactivity and repackage that content for our news articles online. For example, for the election of Pope Franziskus or the 50th anniversary of the President Kennedy assassination we created interactive explanatory pieces with Edge Animate. These interactives give more depth to our news articles online and typically take us one to three days to produce—last year we did more than 150 of these.
See examples of the infographics here
Adobe: What’s next for your team?
Arnecke: We’re planning a seven day shoot that will take place in March for our summer sports. With the success of the winter sports workflow, we’ll be using a similar setup.
Learn more about Adobe Creative Cloud
Download a free trial of Adobe Creative Cloud
We were on pins and needles during Interaction14 in Amsterdam, where we were presented with the award:
Which, by the way, looks like this:
Thank you IxDA jury. We’re honored. And thrilled.
That was the short story; here’s the long(er) version:
Because inspiration doesn’t always hit when we’re in front of our computers, and the colors of the world are not always right outside our windows, Gabriel Campbell (lead designer), David Ericksen (product manager), and the rest of the Adobe XD team created a way for people to take some of the functionality of the desktop version of Adobe Kuler into the world:
It’s called the Adobe Kuler iPhone App.
With it, users can sample colors and create color themes. On the go. With an iPhone. It’s functional, it’s fun and, when the Kuler app is combined with an Adobe ID and synced with Creative Cloud, the color themes are available in Illustrator CC, Flash Pro CC and Edge Code CC in the Kuler Panel (with no need to save them as Adobe Swatch Exchange files).
So, not only does the Kuler app capture colors, it organizes them in a way that makes them useful and usable. It’s why, after launching the app in May 2013, the proud Adobe XD team submitted it to the 2014 IxD Awards. And, well, the rest of that story is… We won!
As if that weren’t enough, jurors Aaron Siegel (Fabrica) and Anab Jain (Superflux) discussed the category and why the Adobe Kuler app stood out among the nominees. Our favorite bits from their three-minute video: Aaron’s comment, “We selected this primarily because the range of creative outlets for this particular application is unforeseeably unlimited,” and Anab’s acknowledgement that she finds the app as useful as we do, “In a sense it becomes an enabler for people to start doing things they would not do otherwise.”
But, really, don’t just take our word for it (or, for that matter, the word of the jury), the Adobe Kuler iPhone App is free in the iTunes store. Download it. See for yourself why we, and the 2014 IxDA jury, love it so much.
With the breadth of digital tools available in Creative Cloud, our members have access to applications they’ve never used before… or never even thought to try. Maybe you’re a web designer interested in learning to use our pro video tools; maybe you’re an illustrator who finally wants to learn to use our digital imaging software; or maybe you just want to get the most out of Behance and Typekit.
No matter what you want to learn, or why you want to learn it, now’s the time to try the Adobe tools you’ve never tried before:
The 30- to 90-minute courses will be available from 3:00pm to 6:00pm PST (6:00pm to 9:00pm EST and 11:00pm to 2:00am GMT). The courses are free to the general public for three hours and available on-demand to KelbyOne members.
So block off your weekday evenings in February. Then decide whether you’d like to learn more about Typekit, Illustrator CC and InDesign CC; Photoshop CC, Premiere Pro CC and After Effects CC; or Behance, Muse CC and Camera Raw. And, finally, remember to head over to KelbyOne on Mondays to check on the courses for the week.
Monday February 3
Photoshop CC Basics for Photographers with Matt Kloskowski
Tuesday February 4
Illustrator CC Basics with Pete Collins
Wednesday February 5
Premiere Pro CC Basics with Brandon Ford
Thursday February 6
InDesign CC Basics with Terry White
Friday February 7
Adobe Typekit with Corey Barker
Monday February 10
Getting Started with Acrobat CC with RC Concepcion
Tuesday February 11
Adobe After Effects CC Basics with Corey Barker
Wednesday February 12
Getting Started with Bridge CC with Mia McCormick
Thursday February 13
Illustrator CC: Beyond the Basics with Corey Barker
Friday February 14
Lightroom 5 Basics for Photographers with Matt Kloskowski
Monday February 17
Premiere Pro CC for Photographers with Terry White
Tuesday February 18
The Essentials of Typography with Scott Kelby
Wednesday February 19
Getting Started with Audition CC with RC Concepcion
Thursday February 20
On Using Behance with Pete Collins
Friday February 21
Premiere Pro CC Beyond the Basics with Brandon Ford
Monday February 24
Muse CC for Photographers with Terry White
Tuesday February 25
Camera Raw Basics with Scott Kelby
Wednesday February 26
Getting Started with Kuler with Pete Collins
Thursday February 27
Getting Started with Prelude CC with RC Concepcion
Friday February 28
Photoshop CC for Designers with Corey Barker
Art directors are becoming animators. Print designers are becoming web designers. Illustrators are also photographers and editors who also shoot film. They are the New Creatives, and we are celebrating their work.
With the Creative Cloud our product teams have removed the barriers to creative expression: Designers can build parallax HTML5 experiences. Illustrators are making EPUBs. Photographers are using their cameras and Adobe technology to become filmmakers. And coders have the tools to make beautiful design.
It’s an amazing and interesting time in our industry; people have the ability to self-express, in any discipline, without boundaries. I Am The New Creative promotes the amazing work our community is producing and marks this moment in time as a movement and a celebration of creativity.
One of the most incredible aspects of this program has been watching creative professionals merge their mediums and their portraits to produce “New Creatives” versions of themselves.
There’s something magical about the compositions. As a designer there’s always a part of me in my work, but to personalize my work in this way, to make my work more representative of me, presents an alternative perspective. All of the artists we’re working with are enjoying this experience and are appreciative of our desire to promote their amazing creative output.
Our new site highlights the New Creatives, their disciplines, their work, and their stories.
Visitors to the site can join us and become New Creatives (submissions are made through Behance and curated by our team); we’ll be choosing a number of artists and celebrating them and their work throughout our social properties and on Adobe.com during the coming year.
Be sure to check out the work of the New Creatives, get inspired, and join us.
In the spring of 2012, we launched Creative Cloud—membership to Adobe’s full range of creative applications—with the belief that it would benefit our customers by giving them access to our tools and services as they’re updated. Since then, more than 1.4 million people have joined Creative Cloud with premium (paid) memberships and millions more have signed up with (free) trial memberships.
Today we’re releasing a major update to Creative Cloud with new features across our core tools—Adobe® Photoshop® CC, Adobe® Illustrator® CC, and Adobe® InDesign® CC—including 3D printing support in Adobe Photoshop CC.
Photoshop CC expands creative possibilities
New 3D printing capabilities in Adobe Photoshop CC tap into the creative and commercial possibilities of 3D printing with the ability to reliably build, refine, preview, prepare and print 3D designs using familiar Photoshop tools. The groundbreaking Perspective Warp feature makes it easy to alter the viewpoint from which an object is seen, and manipulate perspective in an image, while keeping the rest of the image intact. Linked Smart Objects save time and improve collaboration by enabling objects to be used and updated simultaneously across multiple Photoshop documents. Learn about all the new features in Photoshop CC.
Typekit revolutionizes how designers work with type
Now that you can sync fonts from Adobe Typekit to your computer for use in any desktop application, we’ve made updates to Illustrator CC and InDesign CC to make for an even more intuitive integration; for example, InDesign CC will now automatically search the Typekit desktop font library for missing fonts and offer the option to use those fonts, or similar fonts, if it finds a match. Using fonts in your PDFs and print files just got a lot easier. Learn more about Typekit.
Illustrator CC gets powerful new functionality
The latest version of Illustrator CC simplifies creating perfect, editable, rounded corners with the new Live Corners controls; offers more intuitive drawing with the rebuilt Pencil Tool; the ability to quickly modify existing objects and change the view of perspective drawings with Path Segment Reshape and export responsive SVG code and graphics. Learn more about Illustrator CC.
InDesign CC simplifies ways to add interactivity
InDesign CC includes new support for EPUB 3.0 specification including new ways to add interactivity to eBooks, the ability to add pop-up footnotes that streamline the EPUB reading experience, and support for Japanese Vertical Composition and Hebrew and Arabic text. InDesign also offers simplified hyperlink creation and management. Learn more about InDesign CC.
Adobe Muse CC gets more engaging
Adobe Muse CC released a set of new features in November 2013 that included scroll effect enhancements that make it easy to create subtle or dramatic scrolling web pages; a new Library panel that stores frequently used design elements; and a dozen new social widgets that make connecting to social media sites, like Facebook and Twitter, a snap. Also added was Adobe Muse Exchange, a community-based exchange where custom widgets and templates can be borrowed and shared. Learn more about Adobe Muse CC or check out How to Create a Website with Adobe Muse to create your first site.
Get started with Creative Cloud
* If you’re ready to take your skills and creativity in new directions, with applications you’ve never tried before, check out the training videos on Creative Cloud Learn.
* If you’re already a Creative Cloud member, download the updates through the Creative Cloud desktop application.
* If you’re not yet a Creative Cloud member, sign up for a free trial membership for 30-day access to the latest versions of every Adobe creative desktop app.
* If you’ve already tried our Creative Cloud applications for 30 days, and want to try Photoshop CC, Illustrator CC, InDesign CC or Muse CC a second time, free, launch the Creative Cloud desktop app and click Update next to the apps you want to try.
See, in more detail, what’s new in Creative Cloud for designers.
We see it everyday. Heck, we showcase it daily on our Facebook and Twitter pages. But looking at it just never gets old. The Adobe Ideas team is continually amazed and inspired by the illustrators and artists who use our app.
When we recently added support for two of the top styluses in the market (Pogo’s Connect and Wacom’s Intuos Creative Stylus), Adobe Ideas users were thrilled. The pressure sensitivity of the styluses added increased precision that changed the drawing experience.
It’s why, today, we’re so excited to announce support for Adonit’s Jot Touch 4 and Jot Script styluses: Two new choices for Adobe Ideas users. The Jot Touch 4 provides great pressure sensitivity for artists who demand accuracy and control. For users who want to see their lines clearly, as they’re drawing, the thin-tip Pixelpoint™ technology of the Jot Script provides accuracy that mimics traditional drawing with pen and paper.
The Jot Touch 4 retails for $89.99 and the Jot Script for $74.99; they can be purchased in Adonit’s web store.
Adobe Ideas is still the only vector drawing application with Illustrator compatibility. Couple it with a Creative Cloud membership to sync Ideas artwork to the Cloud and open and refine it in Illustrator CC.
Update Adobe Ideas today in the iTunes App Store (while you’re there, take a minute to review it). Don’t have it yet? What are you waiting for? It’s free!
Creative Cloud is always evolving and ongoing updates are one of the most popular benefits for users. In a fast-changing industry, Creative Cloud members always have the latest versions of the pro video tools as soon as they are available, including feature enhancements and optimized performance.
This morning updates for Adobe Premiere Pro CC, SpeedGrade CC, Prelude CC, and Adobe Media Encoder CC will begin rolling out. The new video updates will become available to Creative Cloud members over the next 24 hours. A new After Effects CC update will follow soon.
Adobe Premiere Pro
Adobe Premiere Pro CC has seen four new releases in this year (June , July , October, and now, December) – all within the 6 months since the CC version was announced. Guided by user requests, the Adobe Premiere Pro CC December 2013 release adds Open CL performance enhancements, media management improvements like multiple Media Browser tabs, new editing enhancements for even greater workflow efficiency, and delivers more intuitive voiceover recording.
“Adobe is committed to delivering the best professional NLE in the industry,” said Al Mooney, senior product manager for Adobe Premiere Pro. “Video pros need tools that keep up with ongoing developments in film and broadcast. That’s exactly what Creative Cloud gives them.”
After Effects CC, the leading motion graphics and visual effects application, is evolving faster than ever with Creative Cloud. “Our team turned around this release in a matter of weeks based on direct feedback from our users,” said Steve Forde, senior product manager for After Effects. “With regular Creative Cloud updates, we’re able to continually evolve and enhance our feature set. Your tools just keep getting better.”
The After Effects CC December 2013 release will offer customizable output of file name and path templates, improved snapping behavior, enhanced scripting options, and the ability to migrate user settings when updating to newer versions.
More updates for video pros
Creative Cloud offers video pros an integrated workflow across the video production applications. The December 2013 releases also includes updates to SpeedGrade CC , Prelude CC, Adobe Media Encoder CC, and Adobe Anywhere for video. Along with performance enhancements, SpeedGrade also offers expanded camera format support in Direct Link mode. Prelude CC has added support for the latest Adobe Anywhere protocols. Adobe Media Encoder now includes Sony XAVC format support, and Adobe Anywhere introduces performance improvements and diagnostic tools for monitoring system status.
Creative Cloud: one million strong and growing
There are already over one million Creative Cloud members with more joining every day. Already a Creative Cloud member? Launch the Creative Cloud application to get started using these great new features. The new updates will be available there within 24 hours.
Not yet a Creative Cloud member? Sign up for a free membership and get access to 30-day trials of every Adobe creative desktop application, including the latest versions of all the video tools.
Want to learn a new creative app? Both free and paid members also have access to cool new training videos, including sample work files, in Creative Cloud Learn to help you get up and running fast.