Adobe collaborates with agencies to produce stunning video using Adobe Creative Cloud
Adobe Photoshop is synonymous with creativity, which is why it made perfect sense to celebrate its 25th anniversary with a standout commercial of exceptional artistry. Goodby Silverstein & Partners (GS&P) produced and Rock Paper Scissors edited the fantastic spot—an animated montage of the work of artists from all over the world. It aired during the 2015 Oscars and has been watched nearly 1.9 million times on YouTube. The commercial won two AICP awards, a D&AD Graphite Pencil, two Cannes Cyber Lions, and continues to receive rave reviews from creative professionals and dreamers worldwide.
Contributors to the project included Alex Amado, Senior Director, Creative & Media at Adobe; Timothy Plain, Producer and Tod Puckett, Director of Broadcast Production of GS&P; and Video Editor Grant Surmi of Rock Paper Scissors, who all enjoyed working on this fast paced, captivating commercial created with Adobe Creative Cloud.
Adobe: Why did Adobe want to make a 25th anniversary spot for Photoshop?
In a previous post, we interviewed Lars Borg, Principal Color Scientist at Adobe, about the intriguing field of color science. In this post, Lars shares a few things that everyone working in video ought to know about color science.
We learned from Lars that “color” is actually an interplay of available light, colors, and the context in which we see them – all of which makes color subjective to a lot of different variables. We wanted to know, with such a deep topic, what ground rules can filmmakers and video enthusiasts derive from color science when it comes to basic color correction and color grading?
Looks are essential in cinematic storytelling
In the past, the film stock played an integral role in creating the “look” or character of a film. In the transition from film-based movie making to digital video, our relationship to color has shifted too. “The concept of the look is integral to film-based photography. You’d pick your film stock, say Fuji Velvia or Kodachrome, because the resulting look was pleasing to you. Some of the ‘look’ stems from the fact that the film’s spectral sensitivities don’t match the eye’s.” For example, some film stocks are overly sensitive to red, resulting in richer skin tones. Now, digital systems can emulate the look of film stocks.
The theme of the 2015 release of Creative Cloud pro video tools is “Creativity just got a lot more colorful.” With color being such a hot topic at Adobe and beyond, we interviewed Lars Borg, Adobe’s resident color expert, to tell us more about color science and what filmmakers and video enthusiasts can take away from such a deep field.
Stay tuned for Part 2, where we’re share key color science takeaways for working with video.
Colors are a lot more than wavelengths on a spectrum. There’s a whole scientific field dedicated to the understanding of color, light, and ultimately, human perception: “Color science is based on how the eye reacts to color and light stimuli. It also includes how we ‘fool the eye’ – like that dress – based on what we are expecting to see, as well as how the eye adapts to different conditions, such as sunlight versus dark night,” says Lars Borg, Principal Color Scientist at Adobe. Color science is a cross-disciplinary field involving chemistry, physics, biology, mathematics, and psychology. It plays a key role in the design and production of most man-made materials—everything from textiles to digital imaging – as well as in defining properties of natural materials.
Morph cut is a very powerful new Video Transition in Premiere Pro CC 2015. It enables users to create polished interviews by smoothing out distracting jump cuts without cross-dissolves or cut away footage. To get the most out of this new and exciting feature, here are some best practice tips as well as some advice on what to expect when using Morph Cut in the real world.
Similar to Adobe Photoshop’s Content-Aware Fill feature, users will need to be selective and understand when Morph Cut may or may not work in an ideal way. There are three main requirements to get it to work properly
- A “talking head” interview shot with a single subject
- A fixed shot (minimal camera movement may be OK)
- A static background (includes avoiding subtle lighting changes)
Today we are extremely excited to be releasing the newest version of Premiere Pro CC, which is accompanied by all-new versions of our creative video and audio desktop apps, including Prelude, After Effects, SpeedGrade, Adobe Media Encoder, and Audition, alongside a powerful new mobile application for iOS, Adobe Hue, an update to Premiere Clip and the first public preview of Adobe Character Animator (installed as part of After Effects). Learn more about this entire release here.
Creative Cloud members and trial users will be able to download and install these applications today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html.
PLEASE NOTE: that the 2015 Creative Cloud releases are designed to remove previous versions of the CC apps. More information on this and how to adjust this default behavior can be found here.
The 2015 release of Premiere Pro CC contains all of the amazing features we previewed at NAB 2015 in April, including the new Color workspace featuring the Lumetri Color Panel and powerful new real-time scopes, Morph Cut, an improved Premiere Clip workflow, Time Tuner, task oriented Workspaces, expanded format support, audio workflow enhancements, caption burn-in, editing refinements, and improved support for Windows touch devices. Full information on these features can be found here.
The inclusion of Creative Cloud Libraries in Hue, Premiere Clip, Premiere Pro, and After Effects, powered by Adobe CreativeSync, make creative assets like Looks and graphics automatically available across a user’s applications, as well as empowering collaborative workflows between team members via shared Libraries. Jump start your creative projects by quickly searching over 35 million quality images and graphics in the new Adobe Stock image service. Subscribe to an Adobe Stock stand-alone plan, or get the best value when you buy it as part of your Creative Cloud subscription.
In addition to the significant number of new and enhanced features, this release also includes hundreds of bug fixes and stability improvements, including greatly improved Mercury Transmit performance. A full list of fixed bugs can be found here.
Alongside the key features described above and in the original blog post, there are multiple other improvements, a full list of which appears below.
- New native formats are supported: JPEG 2000 MXF Op1a, Panasonic 4K 444, Canon XF-AVC XC10, DNxHD with compressed alpha, and Dolby 5.1 export
- Looks applied in Premiere Clip now pass through to Premiere Pro (requires latest version of Premiere Clip)
- A composite view is shown in the 2-up display in the Program Monitor when drag-trimming an edit point in the timeline
- A Video Mixdown option is available when exporting AAF
- The anchor point can be dragged in Direct Manipulation
- Consolidate and Transcode now supports handle durations of up to 999 frames
- Fielded footage can be monitored over HDMI
- Trim and Nudge can use the same keyboard shortcut
- ProRes media performance has been improved by up to 2x on Mac
- A ‘Hide’ checkbox has been added to the Project Panel, and a ‘View Hidden’ option to the contextual menu in the Project Panel, so that users can have items in sequences which are not visible in the Project Panel by default
- A ‘Preserve Alpha’ checkbox has been added to Consolidate and Transcode
- Support for RED DEB, REDcolor4 and DRAGONcolor2 has been added
- Up and down cursor arrows can be used to adjust numerical parameters
- The maximum sequence size is now 16K
- The Project Panel can be sorted by XMP metadata
- Input only devices can be used on the Mac without needing to create an aggregate device
- Source Settings for RAW formats now appear as intrinsic Master Clip Effects, and Source Settings can be applied to multiple selected clips in the Project Panel
- Master Clip Effects can be removed from the Project Panel
- 4-point editing has been improved by enabling Ignore Source Out
- Clip Markers are still displayed in the timeline for tracks set to minimum height
- In loop playback Trim mode in the program monitor, the I and O buttons can be used to adjust the position of the edit point on the fly
- Keyboard shortcuts can be assigned to Play Audio In to Out and Play Video In to Out
- A Revert Trim Session button can be added to the Program Monitor to enable an edit point to be returned to its original position before Trim Mode was entered
- The transition UI has been restored in the Effects Control Panel
- An eyedropper tool is available in the Color Matte dialog
- Improved support for discontinuous timecode in Multicam workflows
- Subsequences can be created from parts of a sequence
Today we are extremely excited to be releasing the newest version of Media Encoder CC, which is accompanied by all-new versions of our creative video and audio desktop apps.
Creative Cloud members and trial users will be able to download and install these applications from today using the Creative Cloud desktop application, or online from http://www.adobe.com/creativecloud.html. Please note that the 2015 Creative Cloud releases are designed to remove previous versions of the CC apps. More information on this and how to adjust this default behavior can be found here.
The 2015 release of Media Encoder CC contains all of the amazing features we previewed at NAB in April, including Time Tuner, expanded format support including JPEG 2000, Dolby Digital multichannel support, QuickTime audio channelization, new UI appearance preferences, and improvements to Creative Cloud publishing. Full information on these features can be found here.
In addition to the significant number of new and enhanced features, this release also includes many bug fixes and stability improvements. A full list of fixed bugs will be posted to this blog in the coming days.
Alongside the key features described above, there are severa; other improvements, a full list of which appears below.
- Rewrap compatible video streams in to a QuickTime wrapper easily with the new QuickTime rewrap preset
- An option to set a custom start timecode for your export preset
- Better logic for detecting when you’ve selected an image sequence for import
New York based agency fuses music, story, and technology into a psychedelic immersive app using Adobe Creative Cloud for teams and Google Cloud Platform.
Rapper Azealia Banks’ latest single “Wallace” is as inventive as her music and her entire persona. To showcase this innovation, the brand agency COLLINS created an immersive app that lets viewers become part of the video and control Azealia’s movements. Custom software designed by COLLINS tracks the viewer’s facial movements through their web camera, allowing Azealia’s audience to physically interact with the webbased video. About halfway through, the viewer appears in the video behind Azealia. Fans are embracing the experience in droves and posting hundreds of “selfies” of their coappearances with Banks on social media.
Here, we talk with Director Nick Ace and Director of Experience Design Brett Renfer, both of COLLINS, about their roles in creating the unique app and music video experience, with help from Adobe Creative Cloud for teams.
Adobe: Tell us more about your backgrounds.
Renfer: I studied at the College for Creative Studies in Detroit and then went on to work at Rockwell Group, an architecture and design firm. As the Director of Experience Design at COLLINS, I have done everything from responsive architecture to interactive music videos. My job here is to create anything that one or more persons can experience in an immersive way. I love the convergence of physical and digital worlds and learning how people interact when the two come together.
From pitches to prototypes… The applications in Adobe Creative Cloud for teams support every stage of Senior Post’s award-winning projects.
Feathered jackets. Dancing presidents. And of course the ubiquitous tongue. In an electrifying five-minute video for the music video site VEVO, Miley Cyrus connects to audiences by introducing the people and ideas that make her live performances uniquely Miley.
For VEVO, this rare behind-the-scenes look needed to be as dynamic and eye-catching as Miley’s performances. The content channel turned to long-time collaborator, creative studio Senior Post, to give the video the energy it needed. The studio combined music, interviews, and backstage footage to create Miley Cyrus Bangerz (VEVO Tour Exposed). It earned the team a 2014 CLIO Award. With high energy and a keen eye for details, this award-winning video is typical of the work from Senior Post.
Expanding creative focus
Josh Senior began Senior Post with a simple goal: to raise the bar on digital services by providing clients with top-quality video editing and post-production work. Although the Brooklyn-based studio initially focused on the editorial side of video production, Senior Post quickly expanded into finishing services that deliver the crisp images and perfectly synced sound that turn a great video into an extraordinary one.
“We got our start working with brands like VEVO and VICE on music-related content and online videos,” says Senior. “We spent our first few years improving our work and making a name for ourselves for high-quality execution. Winning the CLIO Award was a real game changer, opening the door for production opportunities. We’re now able to offer a one-stop solution for branded content—handling production, editing, and finishing under one roof.”
Working with a team
As the studio’s workload grew and diversified, so did its workforce. The studio works with half a dozen people on an average week, with about fifteen people on set for a shoot. Rapidly scaling the team up and down gives Senior Post the ability to take on a large variety of work across a broad range of budgets.
“We never wanted to price ourselves out of opportunities, and the dynamic flexibility of our business model is the perfect parallel for Creative Cloud,” notes Senior. “We use Creative Cloud throughout our creative process, but our numbers have been growing dramatically,” says Senior. “Just a few years ago, we used two workstations. Now we have five. Adobe Creative Cloud for teams was the next step for our growing business.”
With Creative Cloud for teams, Senior can assign and reassign licenses to freelancers working anywhere. Working on the same Creative Cloud apps and versions keeps collaboration running smoothly. Team members can share assets quickly and easily, no matter where they’re located.
Since the Adobe apps work together seamlessly, different elements of a project can be worked on simultaneously and pulled together for a faster production workflow. Editors cut video in Adobe Premiere Pro CC while sound editors mix the audio track in Adobe Audition CC. Animators import assets created in Adobe Photoshop CC into Adobe After Effects CC to create smooth animations.
“Importing a Photoshop or After Effects file into Premiere Pro that automatically updates as we make changes in the original programs makes combining different types of media much simpler and more efficient,” says Joanna Naugle, Senior Post Lead Editor. “With Adobe Creative Cloud for teams, I can support my teams from anywhere to keep workflows running smoothly and deliver the best content for our customers,” adds Senior.
Adobe Creative Cloud for teams apps contribute to every stage of a project, starting from pitches and prototypes. Working with Adobe InDesign CC, Senior can pull together assets created in any Adobe app to develop an engaging pitch. The smooth workflows and easy integration with Adobe apps enables Senior to use Premiere Pro CC to add assets onto a timeline and quickly prototype video projects.
“Power windows in Premiere Pro CC enable us to quickly set looks and provide an idea of how the story will evolve in a visual way,” says Senior. “Being able to serve clients with moving prototypes helps us better convey our ideas compared to static storyboards. We can deliver more persuasive client presentations that accurately reflect our creative vision.”
Senior is looking at more ways to use mobile apps, such as Adobe Shape CC or Adobe Premiere Clip, to expand creative workflows. “I used Adobe Color CC to capture the color palette of a client’s office and bring that back into the project,” says Senior. “It was an amazing way to tie the video to the client’s brand. I love how the Adobe Creative Cloud mobile apps open up new possibilities for us creatively.”
Delivering original video
After spending years polishing skills on branded content, Senior Post now has the time and opportunity to focus on original works. “Long-form content, by nature, tends to involve very busy periods followed by lulls in activity,” says Senior. “This cycle is a huge asset for us, as we can use the downtime to work on our own projects.”
From narrative comedies like Eavesdropping to the documentary series Life on Mars, Senior Post’s original material has been as varied as its branded work. The studio also encourages its employees to pursue their own ideas, using company resources to help bring dream projects to life. “By reinvesting in our talent, we’re keeping employees engaged and building a team of highly experienced and creative staff,” says Senior. Projects are often featured on Instagram and Facebook, enabling the studio to control distribution to highly engaged audiences.
Looking to the future
For Senior Post, the next big project on the horizon involves a narrative feature entitled 5 Doctors. The studio will handle digital imaging and related workflows, which will require deep involvement throughout the filming process.
The studio is also working with VICE’s creative agency, Virtue Worldwide, to produce a series of pre-roll ad spots for SUBWAY, providing full production and post to a top tier client. By leveraging collaboration through Creative Cloud for teams to its fullest, Senior Post was able to deliver eight pieces of content back to Virtue Worldwide within two days.
“We’re closing the gap between post and production work,” says Senior. “Adobe Creative Cloud for teams is an essential piece to help us increase collaboration while keeping workflows efficient. The apps are allowing us to align more closely with the agencies that engage us, and present a unified package to our clients. Having that extra time to refine stories and beats really makes everything a lot more polished by the time clients’ lay eyes on the work.”
From nature conservation to corporate promotions, Adobe Premiere Pro CC helps tell stories
Based in Hanover, Germany, TV Plus GmbH is a production house that creates programs for public television, but also for commercial broadcasters and corporations. Since its founding in 1997, TV Plus has produced hundreds of live shows, fictional dramas, children’s entertainment, late night programming, and documentaries.
Editor and videographer Manuel Sanchez has been a major contributor to numerous productions, including BINGO!, Germany’s first and only environmental lottery game show, Recht So!, and many corporate image films. Today, Sanchez uses Adobe Creative Cloud to produce a variety of video projects for the company.
Adobe: How did you start your career and how did you come to work at TV Plus?
Sanchez: I was educated as an editor and camera operator and have enjoyed a steady career of both for ten years. I’ve been with TV Plus since 2008. We have broad-based production experience for online and offline media. We also excel in other areas, including placement, search engine optimization, and evaluation of audiovisual content. TV Plus produces television series for the international market and builds advanced image campaigns and commercials for clients.