Pioneering filmmaker Ryan Connolly shares his passion for Adobe’s pro video software.
After graduating from film school, Ryan Connolly started out in a fairly typical fashion: creating music videos and commercials for local clients. He then went on to run the video studio at PC game company Alienware. But rather than continue following the path of most aspiring filmmakers, Connolly came up with the idea to create Film Riot, an online show that would let him share how-to filmmaking tips, get feedback on his work, and ultimately build an audience and a community. His renegade style has earned him a loyal online following and his company Triune Films continues to produce weekly online video content as well as short films and other film projects.
Adobe: What makes you an industry rule breaker?
Connolly: My success with Film Riot lets me be my own boss and do less client work. Not that client work is bad, but at Triune Films we want to be a group of friends having fun, doing what we want to do. We’ve been fortunate enough to achieve that. We don’t have a typical day or week; it really depends on what we’re working on at the time. If things get too normal I get completely disinterested. That’s why Film Riot isn’t the same thing each time.
Adobe: Your name is associated with Triune Film and Film Riot. Can you tell us how they’re related?
Connolly: Triune Films is the parent company that produces Film Riot, along with our other programs and projects. Film Riot is an online training ground for how to make great effects, learn best practices for editing, and we also do video challenges and give out prizes to winners. For me, the big thing with Film Riot is that we’ve built an amazing community; it’s not mandatory, but it has become part of our DNA to be kind, helpful, and supportive of each other in our creative efforts—versus critical. We’ve also built a loyal following on social networks: Twitter, YouTube, and Facebook.
Adobe: Are there other aspects to the business?
Connolly: Yes, we’ve built a brand that caters to indie filmmakers, who are a passionate bunch. We sell T-shirts, color preset packs for Adobe After Effects, sound effects packs—all kinds of things that our audience wants. We’ve also started a weekly YouTube show called Variant that focuses entirely on comics.
Adobe: Which software have you chosen to use over the years?
Connolly: After Effects has always been our go-to for visual effects. For editing, I started using Adobe Premiere Pro right off, and then switched to Final Cut Pro when I went to film school. When Apple introduced Final Cut Pro X that was the end of that.
I’m now back on Premiere Pro CC and its integration with all the Adobe software is amazing. It saves me hours every week because I’m not spending time rendering out sequences and trying to put them back in the timeline and fuss with them. The first time I saw Dynamic Link, I was amazed. If an edit to an effect is required, I just Dynamic Link the change from After Effects CC and have it flow to Premiere Pro CC automatically. The integration among all the Adobe software programs just seems to get better and better.
Adobe: Now that you have Adobe Creative Cloud, which applications do you use most?
Connolly: My main four are Premiere Pro CC, After Effects CC, Audition CC, and Photoshop CC. Every now and again I use SpeedGrade CC for color correction and I’ve also started using Story Plus CC for collaborative scriptwriting, which I first tried because it was available to me through Creative Cloud; it’s the best collaborative scriptwriting software on the market, in my opinion. My designers also use Illustrator CC for title designs and so forth. I have to say, once I got Creative Cloud, I downloaded all kinds of software and kept thinking, “Wow, I can have this, too?” The choices were exciting.
Adobe: How big is your team and what volumes of content do you produce?
Connolly: Today, we have four full-time and two part-time employees. Two of us are editors and we have one VFX expert. The others are focused more on logistics such as shipping, customer service, and social networking. I’m the only all-around filmmaker. I focus on writing, producing, and editing—tossing the heavier visual effects stuff to our VFX artist. In terms of volume, we produce a lot of content between our weekly shows and other projects. We’re doing about three online episodes per week in addition to short films and miniseries-type work. We recently created a short film called Proximity. There’s always a ton going on.
Adobe: How can your team keep up?
Connolly: A lot of it has to do with Creative Cloud. It’s so important to have everyone on the same software versions and be able to bounce everything back and forth on Macs or PCs. There are fewer kinks and version control issues in the workflow and that makes it easier for our small team to stay incredibly productive.
Adobe: How has your audience grown?
Connolly: We’re always looking at our Twitter, Facebook, and YouTube numbers. When the numbers get stagnant, we know we need to switch gears and amp things up. We experienced gradual growth for many years, but over the past year-and-a-half our growth has accelerated. During that time we doubled what initially took us three or four years to grow. We now have 441,000 YouTube subscribers and more than 66 million views of our Film Riot videos.
Adobe: What’s next for you?
Connolly: We plan to get into more new media and online shows as well as publishing comic books. We’ll continue to create short films, but we really want to move into creating full-length feature films. For now, one of the things I find most exciting is to have the opportunity to be somewhat of an online presence. It has been exciting to build a community that is friendly, collaborative, and constructive for creative indie filmmakers.
In late 2013, Adobe announced its Photoshop Photography Program. Yesterday morning, in San Francisco, at the Forrester Marketing Leadership Forum, the Photoshop Photography Program was awarded a Forrester Groundswell Award in the Business-to-Consumer Social Relationship Marketing category.
In September 2013, Adobe announced its Photoshop Photography Program available to customers who owned Creative Suite 3 or later. The program, created for photographers, combined Photoshop CC, Lightroom 5 and Behance ProSite in a discounted bundle for $9.99 per month. The offer became wildly popular. In November 2013 Adobe opened it up to everyone.
To let people know, we used original creative and a sense of humor on our social channels. The announcement poked fun at the company’s previous restrictions on subscription upgrades and touted that, for the first time, this program was available to EVERYONE. An approachable cast of characters (sasquatch, robots and designers alike) illustrated the low barrier to entry and the cheeky, friendly approach of the social campaign caught the attention of our customers–and the members of the Forrester Research team.
Adobe’s primary business goal was to drive awareness and adoption of the Photoshop Photography Program and to reduce negative sentiment in response to the shift to the Creative Cloud business model. The program performed extremely well, exceeding (more than tenfold) initial social sales goals, engagement rates, positive sentiment, and reach statistics.
Read the details of our Forrester Groundswell Award submission and learn why the strategy and approach of the Photoshop Photography Program social campaign stood out from over 100 applications submitted from around the world.
This is the story of how one bored chick named Charlie learned how to 3D-print his own eggs using the new 3D printing capabilities in Photoshop CC; and how you could win your own exclusive egg (designed and printed by Charlie) by visiting our pop-up studio in East London where we’ll be displaying 25 designer interpretations of the egg alongside live 3D-printing demos.
Charlie and the 3D egg
Charlie, a keen designer, decided to create an egg of his own. Inspired by Behance he used Adobe Creative Cloud (and Photoshop CC) to 3D print his very own eggs. Because something worth doing, is worth doing beautifully.
The 3D printing story
So how did Charlie print his own egg? Well, Adobe Photoshop CC can now be used to create, color and texture 3D models, including those produced in other 3D modeling programs. Photoshop CC has support for beautifying a 3D model and then printing it with amazing results. We’ve removed the complexity of the process; all you need to do is select the desired printer and material, and click print. Download a free trial.
How to get your very own 3D egg
To get your claws on one of Charlie’s exclusive 3D eggs, simply tweet using #CreativityForAll and tell us what creativity means to you. We’ll choose the best comments and send the lucky winners their own 3D printed sandstone eggs!*
25 designers and 25 eggs
Charlie isn’t the only one printing eggs. To showcase the new 3D printing capabilities of Adobe Creative Cloud, we commissioned 25 innovative designers to create their own interpretation of the classic egg. We’re exhibiting these eggs and a whole load more at our pop-up studio:
10:00 am–5:00 pm 11 & 12 April | 11:00am–4:00pm 13 April
Shop 7, The Old Truman Brewery, 91 Brick Lane, London, E1 6QL
Come down and say hello, find out more about Adobe’s latest offerings, see a 3D designer in action, 3D printers producing eggs on demand and, who knows, maybe even Charlie hard at work…
A few of the designs we’ve seen so far (check back for updates as the eggs are printed):
* Terms and conditions
The competition is limited to the UK, Ireland, France, Germany, Austria, Switzerland, Belgium, the Netherlands, Luxembourg, Sweden, Norway Finland and Denmark and closes 9:00am GMT on 14.04.14. Prizes limited to one per person. (Details of participation.)
We’re thrilled to announce the availability of Lightroom mobile, an extension of the photography workflow designed specifically for a mobile experience. Beginning today, you can get Lightroom mobile from the iTunes App Store and seamlessly connect your desktop workflow to your tablet (you will need the Lightroom 5.4 update for Mac or Windows).
In Lightroom mobile you can:
• Edit and organize images anywhere, anytime on your iPad*
• Enhance everything from smartphone photos to raw images from DLSRs using powerful and familiar tools
• Automatically sync all mobile edits with Lightroom 5 on your desktop
• Easily share your photos
Lightroom mobile is available to Creative Cloud complete, team, student and teacher members, and to members of the $9.99/month Photoshop Photography Program. If you’re already a Creative Cloud member or Photoshop Photography Program subscriber, Get Started Now. For more details and the FAQ visit the Lightroom Journal blog.
With Lightroom mobile, your photography is going places.
*iPhone version is coming soon.
Today the Adobe Pro Video team kicks of our presence at the 2014 National Association of Broadcasters (NAB) show in Las Vegas. NAB is the biggest North American tradeshow of the year for us and we’ve been looking forward to it for months.
The product teams have been working tirelessly on all the new features that were revealed last week and we can’t wait to show them to you. If you’re attending NAB, be sure to stop by the Adobe booth and say hello (SL3910 in the Lower South Hall of the Las Vegas Convention Center), check out all the new updates in the demo pods, and ask questions. We have a packed schedule on our main stage too including presentations on what’s coming next to Creative Cloud for video as well as some of the fantastic things other filmmakers, post houses, and broadcasters are doing with the Creative Cloud tools. (Hint: If you want to see zombies from AMC’s The Walking Dead, come by to see Sam Nicholson from Stargate Studios.)
Speaking of customers, I was lucky enough to moderate a really engaging keynote panel “Breaking the Rules: The Next-Gen Content Creator” at Post|Production World last weekend where customers Ryan Connolly (Film Riot/Triune Films), Kanen Flowers (That Post Show/That Studio) and Peter Salvia (YouTube Nation) talked about the next generation of media creation and bypassing traditional broadcast outlets. For more on the keynote, check our highlight video.
In addition to Adobe’s booth at NAB—where attendees can see all the goodness coming soon to Adobe Creative Cloud for video—they can also find Adobe Creative Cloud (and specifically Adobe Premiere Pro) being demoed in over 130 partner booths across the NAB show floor. The partner ecosystem is integral to bringing the fastest, most powerful and streamlined workflows to Premiere Pro customers so its an incredibly big focus for the Adobe Pro Video team. And there’s so much more to come: The one-and-only Al Mooney will be presenting at the Las Vegas Supermeet later this week and we’ll be interviewing product team members and customers.
If you’re not in Vegas, we’ll bring Vegas to you—all week long: Stay tuned to the NAB 2014 Channel on Adobe TV for a front row seat to the latest from the show; and make sure to catch our special NAB Ask a Video Pro session on Thursday, April 10 at 10:00 am PT. Jason Levine will be demoing the latest innovations coming to the Creative Cloud video apps like Premiere Pro and After Effects during “What’s coming next in Creative Cloud for video” a one-hour overview and Q&A. Join us. Register free.
Since the first functional 3D printers were created 30 years ago they have been used to create car parts, smartphone cases, fashion accessories and even artificial organs. Not only is the technology impressive, so are the printable materials.
In this post I want to focus on 3D printing in the hands of creatives—especially since 3D printing is now possible with Adobe Photoshop CC. I’ve highlighted a couple of areas where artists and designers are doing amazing work in the hopes that it will inspire you to create. And, remember, you don’t need a 3D printer; just create/refine with Photoshop CC and send projects directly to Shapeways.com.)
Technically complex tangles
Josh Harker is considered a pioneer and visionary in 3D printed art and sculpture. He is credited as the first to break the “design & manufacturing possibility threshold” due to the level of detail in his work. Yet 3D printing has come a long way and now you can achieve this same level of detail using something like laser sintering. Don’t have the $250k laser sintering printer? Just send it to an online service like Shapeways.com; they’ll print it and mail it to your house. Or you can view (and purchase) Josh’s work on his website.
“There is no technique that is capable of achieving such a great degree of hyper(sur)realism as 3D-modeling. At the same time, 3D printing is the only technique with which virtual models can be made actually physically touchable,” says artist Eric Van Straaten. Eric creates and prints 3D objects using full-color sandstone. More of Eric’s work.
Do it yourself: 1) Use the 3D app of your choice to create an object. 2) Import it into Photoshop CC. 3) Paint directly on the object. 4) Send to Shapeways.com from Photoshop CC for printing.
Interactive 3D voiceprint
I had the privilege of meeting artist Gilles Azzaro at 3D Printshow in NYC where he revealed an incredibly creative printed sculpture featuring a speech made by Barrack Obama explaining the Next Industrial Revolution, a creative use of multiple technologies, made possible (of course) by 3D printing. See the video of it in action.
There are many fashion designers using 3D printing (see below) but I personally like Sebastian Errazuriz as he uses 3D printing to tell stories of love through memories of previous relationships. The shoes are just fantastic—especially accompanied by his equally enchanting stories.
Johnson Banks created Arkitype, an “alphabet of alphabets.” They developed a typographic 3D print of the alphabet, based on popular typefaces; it’s a must for anyone interested in typography who can handle being envious of this creative and beautiful idea. Check it out.
Functional & personalized items
There is hardly a designer out there who doesn’t have a unique iPhone case or laptop sticker. It’s in our blood to create and customize. This sets up 3D printing for a number of uses, like this iPad stand, or my iPhone case. This is one of the many items, on Shapeways.com, created by designers. Or you can make your own using Photoshop CC like I did.
Below are some additional 3D printed works to inspire you and show the different uses of 3D printing in the hands of creatives. You will see that designers and artists are using 3D printing in fascinating ways. But the question is, in this relatively new field: What will you create?
Creative Cloud delivers the complete filmmaker’s toolkit at NAB 2014
Editing and video content creation workflows are about to get easier and more exciting, with major updates coming soon to Creative Cloud, bringing more Adobe magic, expanded support for cutting edge technologies, and an even more connected creative experience. At NAB 2014 Adobe will preview the next wave of innovation in pro video, including Adobe Premiere Pro CC, Adobe After Effects CC, Adobe Prelude CC, Adobe Audition CC, Adobe SpeedGrade CC, Adobe Story CC Plus, Adobe Media Encoder CC and Adobe Anywhere for video. (See what we have planned for NAB 2014.)
A more powerful NLE
The Adobe pro video applications already set the standard for integration, and the next wave adds even more interoperability. Two major new features in Premiere Pro leverage After Effects technologies to enable editors to do even more within their NLE. With Live Text templates, users can modify text in After Effects compositions without leaving Premiere Pro. Powerful new Masking and Tracking in Premiere Pro make it easy to add feathered masks that follow a subject through a shot which makes it a breeze to add an effect to a moving object, or to blur out faces or logos for the duration of a shot. Both features include support for Dynamic Link so clips with Live Text templates or Masking and Tracking data can be opened in After Effects for additional fine-tuning or additional animation.
With the new Master Clip effect feature, changes that are applied to a Master Clip ripple down to every part of that clip in a sequence—so there’s no need to copy and paste effects to each clip individually. The Premiere Pro update also offers a faster editing workflow with improved handling of large projects and accelerated sorting and searching in the Project panel, as well as enhanced graphics performance with support for a wider range of GPUs, including GPU debayering for RED media.
“Premiere Pro offers industry-leading support for the latest file formats and hardware, so that today’s editors can handle almost anything you can throw at them, whether it’s 4K RAW material, or footage from one of the new cameras, like the ALEXA AMIRA,” said Al Mooney, senior product manager. “And with all the new integrations between Premiere Pro and other Creative Cloud tools and services, editors have never had more creative power at their fingertips.’ (Watch this preview of the Premiere Pro update.)
A more connected After Effects
Along with the new Live Text Template and Masking and Tracking integration with Premiere Pro, After Effects artists will love the new keying effects for getting better results from compressed or poorly-shot blue- or green-screen footage with the new Key Cleaner effect, especially in conjunction with the new Spill Suppressor effect for controlling color spills.
The After Effects update also includes Kuler integration, so users can capture colors on an iPhone or in a browser and save them as color swatch themes, to use in motion graphics compositions, or as references for VFX work. In addition, Adobe Typekit integration provides access to over 700 fonts in the Typekit library, and the improved Media Browser makes it easy to navigate, including complex media types, such as P2 and XDCAM material.
“From high profile projects, like the The Walking Dead, to repairing shots in independent features, we’re seeing fantastic visual effects work being done in After Effects,” said Steve Forde, principal product manager. “Features like the new keying tools bring a little more of that Adobe magic into the workflow and allow artists to move through shots that much more easily.” (See the After Effects update preview video.)
The complete filmmaker’s toolkit
The new updates also offer a more flexible Direct Link color pipeline between Premiere Pro and SpeedGrade, the powerful grading application included with Creative Cloud. The Direct Link integration now includes the ability to toggle the Lumetri effect on and off inside SpeedGrade and hide or show tracks or adjustment layers for an easier overview of complex timelines. The new Master Clip effect in Premiere Pro also works in SpeedGrade so grading adjustments applied to one part of a master clip automatically affect all the other parts of that clip on the timeline. With new broadcast standard scopes, including a new YUV Vectorscope, and more refined grading tools it’s never been easier to bring cinematic brilliance to video projects. (See what’s coming to SpeedGrade in this short video.)
Adobe Audition, the Creative Cloud audio editing application, introduces support for Dolby Digital and Dolby Digital Plus, making it easier to create deliverables for broadcast, along with enhance multitrack and custom channelization, so users can create audio with as many channels as required. The new update to Adobe Prelude, the ingest and logging app, introduces a Tag Panel, an innovation that dramatically speeds up shot logging by allowing users to create color-coded tags that can be added to footage with a single click. Building rough cuts in Prelude gets a lot simpler, too, with drag-and-drop assembly, ripple trimming, and new keyboard shortcuts. (Watch the Audition overview video.)
Adobe Story CC Plus, the scriptwriting and project planning app, now offers support for Live Entertainment workflows, allowing broadcasters to customize scripts for programs with music-driven scripting and camera movements. Along with support for a huge range of formats, the new Adobe Media Encoder update can create DCPs for playback on Digital Cinema systems, and AS-11 content packages for creating broadcast deliverables. New fault-tolerant rendering auto-heals red and black frame issues without holding up your render queue. (Check out this Media Encoder preview video.)
Open to working Anywhere
Adobe Anywhere for video is a collaborative workflow platform that empowers Premiere Pro, After Effects and Prelude users to work together using centralized media and assets across standard networks. Adobe Anywhere is a separate offering from Creative Cloud, but support for connecting to Adobe Anywhere is already built in for every seat of Premiere Pro and Prelude—as well as early access integration for After Effects. New features for the next Anywhere update include Hot Backup, providing real-time back up of the Collaboration Hub; Rough Cut Support, making it easier to start editing rough cuts in Prelude and finish sequences in Premiere Pro; and improved integration with After Effects which allows you to use Dynamic Link in Anywhere productions to place After Effects compositions in Premiere Pro sequences.
“We live in an incredible time with industries moving away from narrowly-defined roles to a much more dynamic, more connected creative process,” said Bill Roberts, senior director or product management. It’s no exaggeration to say that to make a film today, all you need is a camera, a laptop, and Creative Cloud.”
Creative Cloud for everyone
There is a Creative Cloud plan for everyone, including monthly or annual individual memberships, Creative Cloud for teams (ideal for small businesses because it makes it easy to add or remove seats depending on how many staff are involved with a project), enterprise and education.
To learn more about the next wave of innovation in Creative Cloud for video, register for our special online webinar Thursday, April 10, 2014.
Download our NAB 2014 What’s New PDF.
For news, highlights and interviews from NAB 2014, follow #TeamAdobe on Facebook and Twitter.
Sign up now for Creative Cloud membership and take advantage of special introductory pricing for Creative Suite owners.
Powster creates a striking user-interactive music video for Bombay Bicycle Club with Adobe Creative Cloud.
Powster is nothing if not innovative. The interactive and motion graphics company provides “over-the-top” content, concepts, and apps for the entertainment industry. Powster’s inspiring work has earned the firm multiple accolades, including Webby and FWA awards, and a designation as one of the few Facebook Preferred Marketing Developers. One of Powster’s latest endeavors is an interactive music video for the band Bombay Bicycle Club and their song “Carry Me.” Ste Thompson, founder and creative director of Powster, shares how the groundbreaking interactive music video came together.
Adobe: Tell us more about Powster.
Thompson: We create entertaining content, marketing concepts, and applications/games. Our biggest strengths are video and interactive. We’re among the first creative studios making interactive music videos like the one for Bombay Bicycle Club. The project was exciting because it was one of our most creative and innovative projects. Our team is half video and half interactive led, so the “Carry Me” project was a perfect fit.
In addition, we write quite a bit of custom software to pull off some of our more unique projects. We created Orbital Video, a technology that allows us to have multiple cameras in a circle with a performer—break dancer, musician—in the middle. Once the video is complete and published, viewers can switch between camera feeds or pause the motion. Our Orbital Video technology sparked our interest in creating the interactive music video for Bombay Bicycle Club.
Adobe: What makes the “Carry Me” music video unique?
Thompson: The video is an online experience that engages with audiences on a completely different level. It’s fun for users because they can manipulate the band members like stop-motion puppets. Users can control them and move their bodies while the band members continue drumming or lip-synching. The interactive experience with the music video is something very unusual, because it puts control in the hands of the viewer. As a side note, we created both the interactive version and a linear version that can be viewed more like a traditional music video.
Adobe: How did the idea for the video come about?
Thompson: Eadweard Muybridge, an English photographer from the late 1800s who studied motion and motion-picture projection, inspired the album theme, and the video. A lot of people know him from his studies of horses running; his work centers on taking multiple stills and weaving them together to create motion. It was Muybridge’s concepts and studies that established 24 frames per second as the standard for moving pictures. We created this project on the concept of a Zoetrope, a device that produces the illusion of motion from a rapid succession of static pictures.
Adobe: Tell us more about the creative process behind the video.
Thompson: The whole idea was to be the first to make a linear piece of video footage interactive by allowing the user to switch between feeds, yet keep them in sync. We filmed 9 different camera feeds at 1080p resolution, animated them, and edited them together in Adobe Premiere Pro CC. We had 9 post-production processes on screen at once. Combined they were 5,000 pixels wide, so what we were trying to manage and edit was immense. We actually had to trick our graphics accelerator card and Adobe Premiere Pro CC so we could scale down every piece of footage and then scale each one back up in nested sequences, and retain quality. It was the opposite of most other workflows, where everyone wants to work with media at maximum resolution.
Adobe: How did you shoot the project?
Thompson: The shoot was fairly taxing. For us. And for the band. For example, we did nine different takes of the lead singer lip-synching and all the drummers drumming in different positions. It required a lot of patience and precise alignment, so we could play each frame after the other without it appearing jerky as viewers interacted with the footage.
Adobe: Why did you choose Adobe Premiere Pro CC?
Thompson: The flexibility of Adobe Premiere Pro CC is unprecedented. We’re standardized on Adobe Creative Cloud for its integration and versatility. For editing and post-production on most of our projects, we often have to do some unusual processes. For this project, we were able to push the Adobe software successfully and use it in different ways.
Adobe: How did you use Adobe After Effects CC?
Thompson: After Effects CC was as crucial as Premiere Pro CC. Nine animators worked to add frames. We used Expressions in After Effects to replicate how users would interact with the footage in the HTML5 version, as if someone on a desktop machine or other device with a browser would engage with the footage in real-time. In this way, we were able to view and alter how each user would interact with the video to create the best experiences.
Adobe: What other tools are you working with in Adobe Creative Cloud?
Thompson: Our main applications are Premiere Pro CC and After Effects CC, as well as Photoshop CC. We use Audition CC for sound editing, though we didn’t use it on this project specifically. We also do a lot of work destined for the web, so we are looking at Edge Inspect CC to obtain a snapshot of how projects will look on any device. Creative Cloud allows us to explore new creative possibilities and helps ensure that projects look and sound great on any device.
Adobe: If you had to sum up why you use Adobe Premiere Pro CC, what would you say?
Thompson: The reasons we use Premiere Pro CC are the same with the elements of Creative Cloud as a whole. We are not trying to make normal videos and films, so we need solutions that are flexible and allow us to experiment, innovate, and dream up new user interaction mechanisms. Creative Cloud and Premiere Pro CC are so versatile. They free us to create epic, interesting things.
Modeling and printing 3D objects can seem like daunting tasks but in this new Adobe Learn tutorial, I’ll show you how Photoshop CC simplifies the process. Not only will it get you into the exciting field of 3D design and printing but, best of all, you won’t even need your own 3D printer.
Watch three short videos, practice and print with the sample file included in the tutorial, and you’ll be designing and printing your own 3D objects in no time.
In the first video of the series, you’ll see how easy it is to convert a simple 2D pendant design into a 3D model, then customize the design to change the depth and size of the object for print.
In the second, I’ll walk you through the process of choosing different materials for your object and uploading your model from Photoshop CC to Shapeways.com, for printing; you’ll also learn how Adobe’s partnership with this 3D printing service makes it easy to upload and print 3D models and get lightning-fast delivery of your objects.
Once you’re ready to show off your designs, or get inspiration from other designers, watch the third video to learn how to share your 3D models on Behance or your own website.
Now… Grab the tutorial files and give it a try.
More tutorials from Adobe Learn.
Adobe Creative Cloud for teams standardizes a studio’s design workflow.
AppStudioz is an innovative web and mobile application development company that specializes in developing applications for various platforms and devices including iPhone, iPad, Android, BlackBerry, Windows, and Facebook. In just three years, the company has developed apps for diverse industry segments including healthcare, consumer and retail, gaming, augmented reality, and wearable computing.
Although the dynamics of such a nascent industry keep evolving, core app design remains at the heart of what AppStudioz does to deliver its services across the world. The company needed a platform that would enhance the creative ability of its design team and one that was easily scalable and agile. A cloud-based solution emerged as a default answer.
“When we started our cloud discussions, we did a lot of research and held extensive sessions with designers,” says Preeti Singh, vice president of technology at AppStudioz. “After careful deliberations, top management, designers, and the IT team collectively and unanimously decided to adopt Adobe Creative Cloud for teams.”
For AppStudioz, adopting Adobe solutions was a natural choice primarily because the platform is an industry standard and the firm was already using Adobe tools extensively—specifically Adobe Photoshop and Illustrator. Additionally, a majority of its clients based in the United States and the United Kingdom had already adopted Adobe Creative Cloud; using Adobe Creative Cloud for teams helps standardize the process for the company and its clients.
Broadening designer expertise
The migration to Adobe Creative Cloud for teams took two weeks and was completed without any work disruption. The Adobe team helped AppStudioz train designers and programmers on Creative Cloud tools. “The ease of use of all the components of Adobe Creative Cloud for teams allowed us to quickly train our team on these tools to deliver great results for clients,” says Singh.
AppStudioz works extensively in the area of scalable graphics and Adobe Creative Cloud tools, specifically Adobe Photoshop CC, come in very handy. Photoshop CC makes it easy for AppStudioz’s designers to customize vectors at any point in the design stage. For instance, previously, if there was a figure with four sharp edges and designers wanted to make those edges rounded, they had to remake the entire figure. With Photoshop CC, designers can bring in alterations at any stage. “Such innovative features have given our designers the power to create newer designs with ease and efficiency,” says Singh.
The design team at AppStudioz is a mix of graphic designers, illustrators, and user interface designers, all using different Creative Cloud tools. “Adobe Creative Cloud tools integrate flawlessly with each other, which lets our designers concentrate on the creative challenges before them and not get bogged down in the technology,” says Singh.
With Creative Cloud, AppStudioz designers can start creating images in Photoshop CC or Illustrator CC and later open them in Adobe Dreamweaver CC or Flash Professional CC. Further, the team can switch back-and-forth between the tools and experiment with designs to get different results. “The integration among the tools in Creative Cloud has gone a long way in making our workflows smoother,” says Singh.
Adobe Creative Cloud for teams enables the AppStudioz design teams to work and collaborate from anywhere in the world. Additionally, it has helped the firm’s designers to explore new approaches for designing and developing content delivered across various channels and devices. Migrating to Adobe Creative Cloud gives the creative team the flexibility to work effectively at any location and experiment with the latest tools to deliver content across platforms and devices with ease.
Raising productivity while lowering total cost of ownership
The streamlined administration in Adobe Creative Cloud for teams has greatly helped AppStudioz to eliminate time-consuming manual processes such as installing packaged software and maintaining version consistency. It has also helped raise productivity across the company by simplifying software administration with license management, automated tracking, and version upgrades.
For AppStudioz, Creative Cloud for teams membership has significantly reduced the total cost of ownership for Adobe solutions by creating a standardized model for purchasing and deploying the most current versions of Adobe Creative Cloud tools. “The predictable, easily managed membership model in Creative Cloud for teams eliminates having to deal with lump-sum software purchases,” says Singh. In addition, Adobe Creative Cloud helps support AppStudioz’s rapid growth and streamlines management of creative tools for designers.
“Our firm is continually growing and changing,” says Singh. “Adobe Creative Cloud for teams is helping us manage this growth and scale up rapidly by giving ready access to the latest creative tools to our designers.”
Read the AppStudioz case study.