|Fourth feature update this year for Adobe Premiere Pro|
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 member 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.
|Adobe Creative Cloud offers virtual production hub for collaborative workflow|
Hasraf (HaZ) Dullul is a well-known visual effects supervisor in the motion picture industry. He began his career in video games and computer-generated sequences before moving into visual effects and compositing for feature films. As a visual effects supervisor and lead compositor, he’s worked on well-known films such as The Dark Knight and Hell Boy II, as well as several commercials and broadcast series for clients such as Discovery and The History Channel. He has also been nominated for several Visual Effects Society (VES) awards.
In 2012, he released his directorial debut short film: Fubar Redux, which screened at several festivals, including Cannes Short Film Corner 2012. His newest short film is Project Kronos, released on Vimeo, which he’s created entirely on a laptop with the video tools in Adobe Creative Cloud. The sci-fi documentary focuses on an intricate mission to enable interstellar space travel. We had the chance to sit down with him to share his experiences.
Adobe: Tell us about your first short film, Fubar Redux?
HaZ: I’ve always worked on my own projects on the side, and short films give me the opportunity to do things that I don’t get to do in my usual job. Fubar Redux was my first actual short film with a full story. I didn’t want to work with the usual film set, cameras, actors etc., so I decided to tell the story driven by the visual effects/animation style, without any 3D animation or expensive CGI work. I looked at a style called motion comics and decided to take that further with 2.5D. I took some pictures of my cats and miniature military model toys I collected over the years, and then composited and animated them to created sequences in a compositing environment. It was an action packed film that got some recognition and from there I really got the bug to make short films. With Project Kronos, I wanted to show that I could shoot and tell a story with live action.
Adobe: After previously working with Nuke, Final Cut Pro, and Avid, why did you switch to Adobe Creative Cloud?
HaZ: I primarily work as a visual effects supervisor on films, so I knew in creating Project Kronos that I would have to work on my own time and work fast. When I saw the integration offered by Adobe Creative Cloud, I could hardly wait to get started. First, I used Adobe Story to write the script. I was working all over Europe and with Adobe Story, I could write the script on the fly on my laptop and just save it in the cloud. It was such a massive bonus. I was able to write a professional looking script fast and easy anytime, anywhere around the world. I could share sessions with others who could add in notes, or have a script consultant review it from anywhere. I also used Adobe Story to store my research, character bios, and planned schedules, and imported anything I needed out as a PDF.
Adobe: Where did your workflow go from there?
HaZ: I’m a very visual person, so from there I started creating animatics, sketching (often on my iPad using Adobe Ideas) and moving them into Adobe Premiere Pro. I cut together a mini-film using the images to get the story flow down. Then I started doing basic compositing in After Effects to find a style and look and get a rough edit before starting to shoot. I captured the footage using a Sony EX1 in AVCHD and ingested it using Adobe Prelude. Adobe Premiere Pro read everything—from MOVs of various codecs to DPX frame sequences—perfectly. I tried this in the past with Final Cut Pro and it didn’t work. It’s genuinely amazing to be able to throw anything onto the Premiere Pro timeline and it just works.
Adobe: What was the ultimate result for you?
HaZ: Everything was so easy and seamless that I could just focus on making the film and staying in the creative flow. I fell in love with the Adobe workflow and with Premiere Pro in particular. The tools are so easy that I even tried Adobe Audition. I’ll admit that I’m not much of a sound person, but I like to put temporary music and sound effects in because it’s almost impossible to describe music and sound effects in words. Using Audition, I was able to give my sound designers and composers a good idea of what I wanted. Then everything starts to get more synergistic: the music helps the editors, the visual effects influence the music, and the music helps inform the choice of visuals.
Adobe: What was it like learning the software and using the whole set of Adobe tools in Creative Cloud?
HaZ: The learning curve was virtually nil. I moved among Audition, After Effects, Premiere Pro, and Photoshop, but it never felt like I was jumping from compositing to editing. The whole experience felt like one big environment. What made it even more incredible was that I did it all on my Macbook Pro laptop hooked up with cinema display screen and external raid drive.
Adobe: What did you use for color grading?
HaZ: I had used Baselight in the past but switched to Adobe SpeedGrade for Project Kronos. I usually shoot the film and then do color grading at the end of the process. With SpeedGrade, I applied the look at the beginning and then edited with graded material. It let me see the bigger picture and what the end line looked like.
Adobe: Did Adobe Creative Cloud help with collaboration?
HaZ: People contributing to Project Kronos are located in many different places: audio designers in Italy, other people in the UK, and so on. We can all dump big files onto Creative Cloud and store our main work in progress edits and audio. It’s like having a production hub that lets everyone work on the project from anywhere.
Adobe: What are some of the most useful features in Adobe After Effects? How did they help your workflow?
HaZ: I love the Global Performance Cache in After Effects. I used an external RAID drive for caching and never had to render anything, unless for some reason I needed a QuickTime file. It saved endless hours of time. The tracking is also really impressive, and I’ll admit I’m a motion graphics snob. After Effects has great Warp tracking. I used the 3D camera to move things in the 3D space and the camera blur to create a realistic motion blur and depth of field effects. It made the whole compositing and VFX work so much easier. That’s really important when you’re working on a sci-fi project.
Adobe: What’s next for the film?
HaZ: Scott Glassgold at I AM Entertainment is representing me as a director and the film. We are planning to show it at some upcoming sci-fi and short film festivals, in addition to the Vimeo release. But most importantly we are developing it further into a feature film, and we’re exploring other areas such as TV. I strongly believe in making short films, which lead onto bigger things rather than just make shorts as stand-alone projects. Project Kronos could well be seen as a “proof of concept” for the feature film treatment. As I develop my film career, I know I will be relying on the Adobe Creative Cloud tools as an integral part of my workflow in developing my productions.
Watch Project Kronos on Vimeo
HaZ Discusses Making the Switch to Adobe Premiere Pro & Creative Cloud
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|Adobe Creative Cloud drives editing and color grading workflow|
The human ear is precise, but the eye is subjective. This means that color grading is much an art as it is a science. SILBERSALZ Film is a studio that focuses on the subtle color adjustments that give commercials and films a distinctive look to please even the most discerning viewer. Founded by Thomas Bergmann, Kyrill Ahlvers, and Willem Bramsche, the studio is highly regarded for the quality of its post-production and finishing, as well as its production and set expertise. We sat down with Thomas Bergmann to learn more about SILBERSALZ Film and its approach to commercials and color.
Title: SILBERSALZ Logo, Director: Thomas Bergmann, Production: SILBERSALZ Film GmbH, Colorist: Thomas Bergmann
Adobe: How did you get your start?
Bergmann: I started as a cameraman and DP shooting commercials. I found myself getting more and more involved in the post-production process—splitting my time between shooting, editing, and color grading. Six years ago, we formed a company that we feel sits somewhere between film production and post-production.
Adobe: Tell us about SILBERSALZ Film.
Bergmann: We’re small, and we want to stay small. We primarily work on commercials for the web and TV. We also create original on-screen content for big opera productions at the Royal Opera House. Ultimately our goal is to produce great films and we try to do that, in small way, with everything we create.
Adobe: What makes your studio unique?
Bergmann: We have three mobile color grading stations and often go to where the work is happening. We collaborate a lot with clients and their agencies, and it is important that we are mobile. We’re not a post-production house with a big suite. It’s common for us to be called in to do the color grading on a project right after it is shot, or even while it is still shooting. With shorter and shorter timetables, and many parties involved—including the client, an agency, and a director of photography—it is often easier to just go and spend a day on location doing the color grading.
Title: Ciucasville, Client: Ciucas Beer, Director: Linus Ewers, Production: MME, Colorist: Thomas Bergmann
Adobe: What Adobe products do you use in your workflow?
Bergmann: All of our editing stations look the same. Through our Creative Cloud membership, we download Premiere Pro, After Effects, Photoshop, and SpeedGrade, and we use all the same keyboard shortcuts. We worked with SpeedGrade before it was an Adobe product, and now that it has been purchased by Adobe we know it has a bright future. We’ve always liked the program’s platform independence and how it is built around the graphic card. It really just needs the graphic card to do its magic. We can just buy a fast Dell laptop and it works like a dream in 2K and HD. SpeedGrade is really fast, and the developers understand grading problems and what editors need. As for editing, I was a Final Cut Pro editor for years, but when Final Cut Pro X was introduced I knew I needed to find a new solution for post-production. Premiere Pro CC has all of the features of Final Cut Pro 7 and more. It is faster, more flexible, and very stable. It is clear that Adobe is very serious about its pro video tools and listens to its customers.
Adobe: Tell us about a recent project.
Bergmann: A short while ago, we served as the film production company for three Nintendo Deutschland commercials. The client had called us three weeks before, and asked us to shoot and do post-production on the spots. I directed and Willem did DP and post-production. We shot all three commercials on two ARRI Alexa cameras in one day. The color grading alone took two to three days. We sat with the client and agency and discussed the look they wanted and then did the look work and rendered it inside of SpeedGrade before importing it into the projects for editing. We’re really happy with how it turned out.
Title: Turnaround, Client: Nintendo, Director: Thomas Bergmann, Production: SILBERSALZ Film, Colorist: Willem Bramsche
Adobe: What do you like about working with SpeedGrade?
Bergmann: Good color grading is usually quite subtle and requires a lot of precision. It has to fit into a specific environment and achieve exactly the right look for the client. We also want to make sure it is technically accurate. SpeedGrade is very precise and gives me nine different areas of adjustment to the overall image—and that's before we even get into masks and secondary color corrections! We can go into the highlights and blacks and change the gammas or increase contrast in the middle, giving us even more control over the clarity of the image and colors. If you want to put in the time you could achieve something similar in Davinci, but in SpeedGrade it is faster and the luma and colorometry look sharper and crisper.
We try to make this image precision visible to the viewer. Clients are often spending a lot of money on a project and don’t want to get anything wrong. It can’t be too black, too saturated, or have too much contrast.
Title: Nachts im Museum, Client: Mercedes-Benz, Director: Björn Amend, Production: GoodFilm, Colorist: Thomas Bergmann
Adobe: What’s next for your studio?
Bergmann: We have a full slate of work in the next six months, including grading and post-production jobs from external film productions and projects we’re shooting ourselves. We are also looking forward to improving our workflow between CGI and VFX. Today CGI is more and more popular, so we want to acquire deepen our knowledge in this area to meet the needs of our clients. Our goal is to achieve the same level of quality and time-savings in our CGI and VFX workflows as we have achieved in our regular post-production pipeline.
Learn more about Adobe Creative Cloud
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|Small team produces hours of professional football content each week using Adobe Creative Cloud|
The St. Louis Rams have celebrated victories and suffered losses during the 2013 football season thus far—however, videos produced by the Rams Broadcasting Network are always a big win. The network creates everything from videos introducing cheerleaders and players, game-winning plays, interviews with coaches, and more entertaining content that make it fun to be a fan. Video Manager Chris Slepokura sat down to tell us more about the Rams’ content strategy and how the videos are produced for broadcast, online, and mobile delivery using Adobe Creative Cloud software.
Adobe: Tell us more about who you are and what you do.
Slepokura: I’m the Video Manager of the Broadcasting and Creative Department we call the Rams Broadcasting Network. We produce content for the web, in-game video boards, and three TV shows that are air on our local affiliates. All of this content is edited with Adobe Premiere Pro CC. We also use Photoshop CC for photo editing, After Effects CC for motion graphics, and Illustrator CC for graphics, logos, and so on, to make it all happen.
Adobe: How long have you been with the Rams?
Slepokura: This is my fourth season with the team. I was brought on as Video Producer to help build out a fledgling broadcasting operation. Over the past three years, we’ve grown tremendously. From just me acting as a lone editor to now seven workstations and six editors we have the ability to create amazing content our fans can enjoy.
Adobe: Can you tell us more about the content you're producing and how Adobe Premiere Pro fits in?
Slepokura: Our main focus is TV content because we produce three shows. To create the content, all assets are stored in a centralized server that each workstation can connect to. We use Premiere Pro and import media from our server in raw format. We previously used Final Cut Pro, and we had to constantly import and wait for a while for media to transcode to ProRes. That pain is gone now, because we can import into Premiere Pro immediately without transcoding. It makes the workflow much quicker so TV shows are ready to go sooner to make deadlines.
Adobe: Can you estimate how much time you are saving now that you’ve moved from Final Cut Pro to Adobe Premiere Pro CC?
Slepokura: We ingest media at different times, but I would estimate the entire production team saving about two hours per day. Even if we saved just an hour a day, that time ads up. We all shoot, ingest, and edit. If we have a home game on a Monday and we shoot a ton of footage, then it takes longer to ingest, so consequently we’re saving more time on those days. Regardless, just working with raw files in Premiere Pro saves a ton of time. We can also sketch out and present ideas and discuss them with my boss on the spot. He’s always accessible and amenable to a lot of back and forth. Adobe software makes it possible to be more immediate, not to mention very fun, loose, and collaborative. That brings out the best in everyone.
Adobe: What cameras do you use?
Slepokura: We have a RED EPIC and also shoot on Canon EOS C100s and C300s. They are all digital, cinema-based cameras. To make things look different, we also use a camera slider, jib, Contour helmet cams, and other cool equipment.
Adobe: When you switched from Final Cut Pro to Adobe Premiere Pro, how was the transition?
Slepokura: Everyone picked up Premiere Pro really quickly. The learning curve is similar if you know any type of video editing software. We knew we had the option of mapping the Final Cut Pro keyboard shortcuts in Premiere Pro, but passed on that because we wanted the whole team to know the Premiere Pro shortcuts. It has been great because we use After Effects a lot and the commands and shortcuts are similar.
Adobe: Tell us more about the TV shows. What type of content do they feature?
Slepokura: Rams 360 is a sports documentary that follows a week in the life of a player. It recently won three Emmy awards (Editor-Sports, Audio, Sports Regularly Scheduled Program). Another show is RamsNation, a magazine-style program with five segments that may include a wired segment with a player or coach, a community appearance, or a fun interview with a cheerleader. The third show, What to Watch, is a type of pre-game show in the studio with hosts and a ton of graphics and highlights. These are typically shown on FOX Sports Midwest, our local FOX network, and our local FOX/CBS station. We repurpose the content for the website as well.
Adobe: Tell us about the in-game footage. How quickly are you putting things up?
Slepokura: We come to each game with pre-produced material: graphics, highlight videos, interviews, cheerleader profiles, opening videos, and sponsor elements. There are 22 time-outs in football and those breaks need to be filled with our best creative content. While the fans are watching the video boards our production team is filming our next “Wired” segment and also capturing b-roll for Rams360.
Adobe: How are you using other Adobe applications?
Slepokura: Our motion graphics designer uses After Effects and Photoshop a ton, as well as CINEMA 4D to create 3D graphics. The integration with CINEMA 4D in After Effects CC has been a great addition. The workflow is a lot smoother.
Adobe: What do you like about working with Adobe Creative Cloud?
Slepokura: Creative Cloud lets us easily access all the applications we need on all seven of our connected computers. We love it because it is so much easier to download the software via the cloud than use a disc and worry about licensing complexities.
Adobe: What future plans do you have?
Slepokura: We want our videos to reach more fans so we can gain new fans. Give them access to their favorite players so they can connect with them on a more personal level.
Adobe: Compared to what other teams do, is what you’re doing typical?
Slepokura: I don’t know what every team is doing, but we’re trying to be cutting-edge, and I believe we are. Keeping things in-house, and utilizing the newest and latest technology keeps our content fresh.
Adobe: How does your schedule change from in-season to off-season?
Slepokura: Off-season, we are not producing the same deadline-driven TV shows. Instead, we are stockpiling content for the shows: building graphics for in-stadium; graphics for TV shows; or doing lots of pre-production that goes on creating new elements for the season. It is not the same workflow, so it’s a little bit of a breather though there is still a lot to accomplish before the season begins. NFL Draft, Scouting Combine, mini-camps, community appearances, etc., are events we cover in the offseason. So, the good news is, the fun never ends!
Check out the St. Louis Rams sizzle reel
Learn more about the video apps and services in Adobe Creative Cloud
Download a free trial of Adobe Creative Cloud
|Extraneous Lyrics 2012 leveraged integrated Adobe Premiere Pro and After Effects workflow|
Creativity is the name of the game at Adobe, so it’s no surprise that many of Adobe’s own employees are creative types themselves. Dave Werner is one example. By day, Dave is a senior experience designer, using video and animation to help design new Adobe products. In his free time, he turns his attention to personal projects that leverage the same creative tools. Dave’s popular Extraneous Lyrics videos are verbose versions of pop songs from the likes of Carly Rae Jepsen, Justin Bieber, Gotye, One Direction, and Taylor Swift. The acoustic send-ups feature him playing his guitar and singing—and have gotten more than one million views on YouTube. We grabbed Dave to talk about the intersection of his personal and professional passions.
Adobe: How long have you been doing video production?
Werner: As a kid, I was always doing video reports. I even played around with Mario Paint on my Super Nintendo to make animated content as bookends for my reports. Early on I recognized both the entertainment value and the storytelling value of video. Later, I created movies of family vacations—little two- to three-minute memories of what we did.
When I went to graduate school at the Portfolio Center in Atlanta in 2003, I focused on learning more about video. While I was there, I was exposed to a wide variety of design projects, including annual reports, logos, and websites, and even a 300-pound metal chair. For all of my school projects, I made videos about how I created them. Video was the best way for me to explain the challenges, mistakes, struggles, and successes I had. It was also a great way to help potential employers get to know me. I included all of the videos in my portfolio at okaydave.com.
Adobe: What was your path between grad school and Adobe?
Werner: After grad school I jumped between startup companies that make web, mobile, and social games. For four of those years, I was creative director at a make-your-own video game company. I realized I’ve been trying to give people tools to do creative things, which felt like a logical progression for me. I wanted to help people be creative in the same way that Adobe has allowed me to be creative. I eventually reached out to John Nack, who used to be the senior product manager for Photoshop and is now on the video team at Adobe. Six years ago, he wrote a blog about my graduate portfolio, okaydave.com, and I’ve kept in touch with him ever since. I asked him about opportunities at Adobe, and the same day, John got a call regarding the need for someone who could do video and animation on a special project. Now I’m working at Adobe as a senior experience designer lead. I’m working on some really cool stuff, surrounded by smart, talented people, and learning on a daily basis.
Adobe: When did you create your first Extraneous Lyrics video?
Werner: I did the first Extraneous Lyrics video in 2010 and posted it to YouTube under my Okay Samurai channel. After hearing the same pop songs over and over and over on the radio, my wife and I started making up different lyrics for fun. I eventually got the idea to make a video. I had no idea it would strike such a nerve. I’ve made two more versions, one for 2011 and another for 2012. I’ve tried to do things a little differently each year.
Adobe: What’s different about the 2012 version?
Werner: It’s been my biggest undertaking so far from a YouTube video standpoint. I pushed myself to up the production value to make the 2012 version look and feel more professional than someone filming in their house. Instead of inserting the lyrics like captions at the bottom of the frame, I represented them with typography that flows around me while I’m singing.
I used Adobe Premiere Pro to edit the video and Adobe After Effects to integrate the lyrics in an interesting way. I started with a basic font, Whitney, and then drew over it to give it a hand-lettered look. Lyrics are in every scene, and I was able to use After Effects to track my movements and have the lyrics flow in and out of the frame around me. For me, After Effects was like Adobe Photoshop with motion. It allowed me to explore some cool visual ideas.
Adobe: What made you decide to do the 2012 Extraneous Lyrics video using Adobe Premiere Pro?
Werner: I started making the videos using iMovie, and then moved up to Final Cut Pro 7. I tried a demo of Final Cut Pro X, but it was confusing. I knew I wanted to integrate typography effects from After Effects, but with Final Cut Pro it was a long and complex workflow. I couldn't move back and forth between the editing and effects without jumping through hoops. A friend from graduate school who is well-versed in motion graphics and video editing recommended that I check out Premiere Pro. He said it would feel very similar to Final Cut Pro, but the After Effects integration would be seamless and would save hours of work.
I made the transition from Final Cut Pro to Premiere Pro before I came to Adobe, and it was super easy. The tool feels powerful and natural, and at no time was I confused. I could have tons of layers of video and still sync everything to the music, and then add motion graphics over the top of that. If I wanted to go between two clips and see which is the best take, it was easy. I was able to jump right in and everything felt natural, quick and efficient.
Adobe: How long did it take you to complete the project?
Werner: It took about three months to do six songs. I like to spend the bulk of my free time with my wife and two-year-old son, so anywhere I could save time was great. The features in Premiere Pro helped me be as efficient as possible. I did a lot of editing and visual effects on my laptop while commuting on the train to and from work. I squeezed in time whenever I could.
Adobe: As an Adobe employee, you may be a bit biased, but what do you like about Adobe Creative Cloud?
Werner: Creative Cloud allows me to use five or six Adobe products at any given time, switching between solutions without any interruptions. Plus, it’s nice to be up-to-date no matter what. As a grad student, the school always had one version of software and I had something else. It’s really great to have updates instantly and always know I’m using the latest version. It’s a privilege to work at Adobe, too. I get to see new stuff and know that when it’s released it will work. I use the products daily, both at work and on side projects and hobbies. Personally, I want to try Adobe Audition for audio mixing. I’m already thinking about my next project, a Sesame Street remix. I want to push myself to try new things and bring imagination into reality.
Learn more about the video apps and services in Adobe Creative Cloud
Download a free trial of Adobe Creative Cloud
|Distributed team relies on Adobe video tools for latest parody, Flight Club|
Ambitiously aiming to lead the media revolution, Scruffy.TV creates custom content and is building a full, online network that is hosting all-original content. Kanen Flowers is the creative director behind the initiative, which includes That Post Show, Scruffy Thinking, Scruffy Shows, and HERO PUNK. Other team members include Kristin Martin, Ryan Jacobi, and Weston Woodbury.
We sat down with these multitalented creatives and talked about why they decided to move to an all Adobe workflow based on Adobe Creative Cloud with an emphasis on Adobe Premiere Pro, After Effects, Audition, and Photoshop. A recent endeavor, Flight Club (a spoof on the movie Fight Club), was their first collaborative experience working with an end-to-end Adobe pipeline using Adobe Creative Cloud.
Adobe: Why did you decide to create Scruffy.TV?
Flowers: A while ago there was a show called That Media Show, which was kind of an “Access Hollywood for geeks.” I was interested in restarting the show, but soon realized that nobody wants to watch something online to get information, like they did in 2008 – they get everything from Twitter, Facebook and other sources now. I started to think about how to be more modern and interesting and thought an ensemble sketch show would be good. We have a team of utility infielders who can pretty much play any position, from video to audio editing and VFX.
Adobe: What makes the content on Scruffy.TV different?
Flowers: For one thing, literally everything is shot against a green screen, so we rely a ton on technology for digitally creating the sets, sound, effects, and so on. We produce matte paintings in Photoshop, 3D backgrounds in Cinema 4D, edit in Premiere Pro, adjust audio in Audition, and composite and grade in After Effects.
Adobe: Tell us about the workflow for Flight Club?
Flowers: It is 10 minutes of 100% green screen work shot in a tiny studio in San Francisco. It was also the first production we did with an all Adobe pipeline. We did use Red Giant VFX plug-ins, but otherwise, it was 100% Adobe. It’s far and away the highest-quality piece we’ve done with the most sound design, the best script, and the most love put into it.
Woodbury: We shot it on three cameras, a 60D, a 7D and a Canon T3i, all on green screen. It’s important to note that we’re a totally distributed team with me in Utah, Ryan in Virginia, Paul [Del Vecchio] (one of our camera operators) in New York, and Kanen and Kristin in different parts of Northern California. I started by cutting three multicam angles in Premiere Pro. We’d review the cut remotely, lock it, and export it to QuickTime. Then we brought that into After Effects for compositing and color grading.
We all have the same masters on hard drives with copies of the footage that are mailed out to everyone. From there, we just pass around project files over Dropbox. Anything that changed literally opens and automatically links to the footage we already have on our local drives, thanks to the incredible integration of all the tools in Creative Cloud.
Flowers: We thought of Flight Club as the seed for the sapling of our future workflow. Believe me, we’ve used all the major video editing and audio programs over the courses of our careers, and we are violently in love with Creative Cloud. Before, we were all over the place with Smoke, Avid Media Composer, Final Cut Pro, Avid Pro Tools, you name it, and none of these were integrated. But now we can share files so easily and just link them to our local copies of the master file. The versioning is so easy and we’re only sending tiny files around.
Adobe: What was it like for you working in Adobe Premiere Pro?
Woodbury: Bringing clips into Premiere Pro from whatever camera and format is so easy it’s ridiculous. And the performance is tremendous. I also used After Effects, but I did a lot of pretty complex things right within Premiere Pro. For instance, in one part of the story in Flight Club, there’s a white void that I created entirely from the green screen using the Ultra Key in Premiere Pro. The Adjustment Layers in Premiere Pro are great too. I did a final pass in Premiere Pro to match the grain levels in each shot. It’s such a clean way to grade quickly.
Adobe: What is it like for you working in Adobe Audition as a traditional Pro Tools user?
Martin: Audition has been tremendous for sound design, considering we only have the dialogue from the boom microphone to start with. I think Audition is a full-featured product, but the best part for me, because I’m a “jack of all trades,” is the round-trip workflow between Premiere Pro and Audition. For NAB this year, we did over 32 interviews for That Post Show. I could hardly believe how smoothly the process went due to the integration between the applications. For the shows I edited, working with native footage was simple. For episodes edited our remote team, we used a proxy editing workflow and I relinked the proxies to the raw files. We were able to turn around most of the interviews in a day—having been in the industry for a while, that’s crazy!
Adobe: How do you like Creative Cloud?
Flowers: Creative Cloud makes the team more efficient. Everyone is on the same version of the software and it's hugely affordable. Before the entire team was on Creative Cloud, I was looking to upgrade our Avid licenses, buy a bunch more Smoke seats and invest in a lot of training. This was not only going to cost me a lot of money, it was going to delay our project by six months. Now that the team is on Creative Cloud, Flight Club was released sooner than we expected and we saved a ton of time and money in the process. When you look at it from all angles—creativity, efficiency, and cost savings—Creative Cloud is genuinely a huge step forward for us and for our industry.
Adobe: What do you see as the future for Scruffy.TV?
Flowers: There’s no doubt we’ll be getting even more creative and ambitious. As for now, we’re working on our next project using the latest version of Creative Cloud. We're really excited about the new integration between After Effects CC and Maxon Cinema 4D. This is huge for us and completely eliminates some serious problems we used to have working in 3D. Everything we’re doing is building toward a future in which we will be doing full-length feature films with Creative Cloud as the centerpiece of our workflow.
Watch Flight Club
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|USC filmmakers break new ground with Adobe Creative Cloud and Adobe Premiere Pro CC|
Filmmaker Christopher Guerrero—soon to graduate—and Maury Shessel—already on his career path—both attended The University of Southern California (USC) School of Cinematic Arts (SCA). Both video pros have tried various software programs and suites to edit and post-produce projects and they agree: Adobe Creative Cloud with an emphasis on Adobe Premiere Pro CC for editing gives them everything they need to create a box-office hit. They decided to edit Chris’s graduate thesis film, Mike Garcia and The Cruz, using Adobe Premiere Pro CC, and shared their thoughts about their exciting work-in-progress. Norman Hollyn, USC Endowed Chair in Editing and President of the University Film and Video Association, also weighs in on the choices available to students today.
Adobe: As graduate students from the renowned USC SCA, why did you choose Adobe Premiere Pro CC to edit Christopher’s thesis?
Guerrero: My first experience editing film was at UC Santa Cruz, where I learned to edit 8-millimeter film. Like a lot of folks in the industry, I graduated to non-linear editing and learned Final Cut Pro and Avid. I became somewhat of an editing guru and digital media specialist at UC Santa Cruz. When I went to USC, I was introduced to Premiere Pro and became addicted to its ability to ingest almost any raw camera format without transcoding and its integration with other Adobe programs like After Effects and Photoshop.
Shessel: In our first conversation, when Chris inquired if I would edit his thesis, we initially decided on Premiere Pro CC due to its flexibility. We did not want to wait forever for things to be ready to edit, and we wanted to shoot on the latest high-end digital cameras, including the Sony F5 and Sony F65. Our next thought was we didn’t have the most powerful computers, so we couldn’t afford a ton of RAM to transcode and start editing. When we started really putting Premiere Pro to the test, we were pleasantly surprised. We loved that we could bring in After Effects compositions or layers from Photoshop instantly. No more checking settings or dealing with alpha channels. As the first thesis project team at USC to use Premiere Pro, we’re really trying to innovate and show what can be done with the solution.
Adobe: Professor Hollyn, is this a trend you’re starting to see with more of your students?
Hollyn: At the School of Cinematic Arts, we’re always watching what’s happening with the NLEs. We want students to learn about all of the editing solutions available to them so they have more flexibility when they graduate. We’re beginning to see more interest in using Premiere Pro for projects. We’re moving toward a situation where in a couple of years the decision of which system to work with won’t be reserved just for thesis films, it will extend down further in curriculum, even to the undergraduate level.
I meet with every group before they start shooting their thesis projects. We talk about the story, their post-production schedule, and what tools they will be using. I recently met with another group whose film involves heavy visual effects and they asked specifically about using Premiere Pro because of its strong integration with After Effects. For Chris and Maury, I know they were really interested in being able to throw multiple formats on the Premiere Pro timeline without transcoding and the Dynamic Link capability between Premiere Pro and After Effects really piqued their interest. They also wanted to be the first to edit a thesis using an Adobe workflow. I like it when our students experiment with new stuff.
Adobe: What is the thesis film about, and how long is it?
Guerrero: My Master’s thesis is a comedy. Not many comedies come out of USC. That’s something Maury and I have in common. Both our theses are comedic and we both love that genre. Adding to his immense talent, this was another reason I asked him to help me with my thesis.
The film is about a punk rock IT student. He’s an anarchist who steals the Chancellor’s laptop. Right now, it is 27 minutes, but Maury and I are working on cutting it down to 15 or 16 minutes. SCA's high profile, annual student film festival, First Look, has strict guidelines about how long films can be. We’re anticipating that it’s going to be done in December 2013 or January 2014 and we hope it will premiere at the festival.
Adobe: What have you found most useful in Adobe Premiere Pro CC?
Guerrero: I’ve been working with Premiere Pro since version CS5, and I love its ability to support a ton of high-end graphics and seamlessly incorporate effects from After Effects. With the graphics card on my computer, I can throw 10 or more effects at the timeline through Dynamic Link, and I don’t have to wait around to render anything. Everything is elegant and ready to go without re-linking files or grabbing a hard drive. The simplicity is stunning. To me, after years of jumping around between software applications and transcoding and exporting files, that’s pretty insane.
Adobe: What was the learning curve like for you, Maury?
Shessel: I was trained on Avid, and worked on it most of my life. But with Premiere Pro, I was fluent almost instantaneously. The keystrokes were slightly different, but in two to three days, my muscle memory was going for the right keys.
Adobe: Can you describe some of the best parts of this experience?
Shessel: As editors, we are always looking for the best tools. After using Premiere Pro, I can’t imagine not using it again. I tell people how great of a time I’m having with editing this thesis and how easy Premiere Pro is based on other software I’ve used.
Adobe: If you had advice to give to other students, what would it be?
Guerrero: Choose Premiere Pro, and forget transcoding. I know from personal experience how grueling student deadlines are. We have 16 to 18 hours of class each week on top of all our other responsibilities. Take my advice: get from shooting to cutting ASAP.
Adobe: Professor Hollyn, what do you want students to know about the industry when they graduate?
Hollyn: One of the best things we can do for our students is to try to future proof them. This doesn’t mean teaching them every editing program. We try to provide them with knowledge about not just what’s happening in 2013 but what may be happening in 2017. Of course, we can’t predict the future, but we can make sure they learn how to continue growing their skills. There will always be new technologies, distribution channels, and formats. We want students to be able to look for these changes, adapt, and even take advantage of the opportunities that these changes present.
Adobe: Maury, Christopher, what do you both foresee in the future?
Guerrero: There’s an idea people have been throwing around for years, and that’s the democratization of filmmaking. There’s some truth in that. Now everyone has the tools. However, not everyone has the knowledge and creative alchemy and talent to bring all these elements—video, photos, and visual effects—together in a way that intrigues and excites audiences. Today and in the future, smaller teams will be able to create drastically higher quality productions through ingenuity and technologies. Ultimately, filmmaking is about problem solving. Adobe is providing far more tools to solve more problems, much faster. And that helps us create better, more gripping films with fewer resources.
Shessel: I think Premiere Pro is not just a tool, it’s more of an enabler of style, and I’m a worshipper of style, almost to a fault. Over the decades, distinct styles have emerged based on whether people edit on a Moviola or on film, or using non-linear editing tools. Now, with the ease of integration among Creative Cloud components, including After Effects, Illustrator, and Photoshop, I think a new style may emerge as creative barriers are knocked down. So I’m watching closely.
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|World‐class user interface designers, graphic artists, and animators create crisp, timeless visual elements for sci-fi film|
When you want great visual effects for your latest futuristic film, you need to hire a great team. That’s exactly what Joseph Kosinski did for his latest film, Oblivion, starring Tom Cruise as a drone repairman working on an uninhabitable future Earth. Kosinski turned to Bradley G. Munkowitz (GMUNK), who he’d previously worked with on Tron Legacy. As lead interface graphic designer, GMUNK then pulled a team together that included Interface Graphic Designers Joseph Chan (Chanimal) and Jake Sargeant, and Interface Animators Alexander Perry (AP), Navarro Parker (Nav), and David Lewandowski (D‐Lew). They were happy to reunite to share how much fun they had creating the 2D effects for the film using an Adobe workflow. (Now available on DVD.)
Adobe: What was your vision as design director? How did you become involved?
GMUNK: I had a prior relationship with Joe Kosinski because we worked together at Digital Domain doing some TV commercials for HUMMER. Then I did all the holograms for Tron Legacy. I’ve been a graphic artist for more than 12 years, and Joe respects my work. So when he asked if I was interested in Oblivion, there was no question in my mind.
Adobe: How did the rest of the design and animation group come together?
GMUNK: I actually met Alex (AP) at a party and I knew he was fantastic at animating interfaces. Then we brought on Chanimal and Nav, some of the most amazing animators we’d ever known. Nav has been creating futuristic user interfaces (FUIs) for at least seven years, and Chanimal has a similar level of artistry and experience. This was such a unique gig because we actually assembled our little band together in Culver City right in Joe’s office, so we were sitting next to this famous director and his personal assistant. Every day felt like play, not work. And as design director, I tried to infuse some silly fun into the project. What was great about this project was that we could sketch out and present ideas and discuss them with Joe right there. He was accessible and amenable to a lot of back and forth. It was very fun, loose, and collaborative.
Adobe: What were the first steps on the project?
GMUNK: We wanted to create a very energetic and visually stunning sci‐fi world with a clean, sharp “vector‐ish” feel to it, so for the graphic design we used Adobe Illustrator and then brought the graphics into After Effects. There were two phases of the project. We started by creating an interactive light table for the sky tower. This was a big push with a team of four doing all the concepting, designing, animating, and outputting for the live action shoot of the sky tower. I worked on this part with D‐Lew, Chanimal, and motion graphics guru Jake Sergeant.
Next, we (Nav, Alex, Chanimal, and I) started on the post graphics, which included cockpit elements for the Bubble Ship and heads‐up‐display (HUD) elements for various equipment and weapons in the film. Throughout the whole process we used Illustrator, After Effects, and a little bit of CINEMA 4D. Keep in mind that this is not really a flashy 3D movie with all kinds of holograms and crazy 3D elements. It’s meant to look timeless, minimalist, and elegant, so Illustrator, After Effects, and CINEMA 4D were perfect because they gave it the clean, 2D look we wanted. We used a little Photoshop here and there for text and some Adobe Premiere Pro just for quick playbacks.
Adobe: Alex, tell us what you contributed to the project?
AP: I did a lot of the animations that you see just once in the movie such as a reticle (a grid or pattern placed in the eyepiece of an optical instrument) locking onto a drone. I worked a lot on the little effects on the gun reticles and drone vision that was undulating and looping back and forth. Working on graphics that are supposed to look like they have a function was a fun challenge. In terms of using After Effects, I kept it pretty traditional and used only a few effects. I love animating masks and assets from Illustrator because the workflow is straightforward and the integration is great.
Adobe: Nav, how did you get involved in the project and what was your primary role?
Nav: I’ve always loved computer screens in movies. I had worked on a commercial for Sony, co‐branded with the movie Skyfall, with GMUNK and we enjoyed collaborating. I was thrilled when he asked me to join the team on Oblivion. I primarily worked on the DNA sequence, the drone vision “eyeball,” and a ton of shots for the Bubble Ship HUD. I also assisted GMUNK with a weather display sequence that is part of the deleted scenes on the Blu‐ray.
Adobe: What were some of your main challenges and how did After Effects help you overcome them?
Nav: We were working at super high resolutions, mostly 4K with a handful of shots in 8K, because the goal was to keep the micro‐fine detail absolutely crisp and beautiful. Because After Effects has the ability to infinitely scale vector layers, we were able to scale up any vector file by massive amounts without losing detail. Then we handed shots off to Pixomondo for comping everything into the shots. After Effects also helped us work quickly. The global cache feature in After Effects makes it so once everything is initially rendered, a change to one layer can be rendered out much faster.
Adobe: As you move into using Adobe Creative Cloud more, are there any features you’re especially excited about?
Nav: Specifically for me, the integration between After Effects CC and CINEMA 4D is really useful because I won’t have to be jumping back and forth between applications. I can make faster changes and refinements and have more time to creatively experiment.
Adobe: What made this project special?
GMUNK: I am not sure anything quite like this will ever happen again, where a team like this comes together and we have so much close collaboration with a director like Joe Kosinski. I heard designer Jessica Walsh speak at a conference once and she said something along the lines of, “If you treat work as play, you’ll never work another day in your life. The people you work with, the fun you have, and the sheer joy in creating takes precedence over everything.” That’s what this project was like.
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|Cantina Creative creates next-generation heads-up display effects for Marvel’s Iron Man 3|
Stephen Lawes, creative director and co-owner of Cantina Creative and Cantina VFX Supervisor Venti Hristova raised the bar once again on the heads-up displays (HUDs) for Marvel’s Iron Man 3, which premiered in May and released on DVD in September. The film features Robert Downey Jr. as superhero Tony Stark, along with Gwyneth Paltrow, Don Cheadle, and other top stars in supporting roles. Lawes and Hristova’s primary task was the creation of 100 HUD-only shots in the film, used with multiple versions of Iron Man and other character’s suits. Lawes and Hristova discuss how they used Adobe After Effects to create the next-generation HUDs for Marvel’s latest superhero hit.
Adobe: Some people might not fully understand what a HUD is. Can you explain it to us in layman’s terms?
Lawes: Basically, a HUD shows what Stark (Iron Man) is seeing as a graphical representation when he’s in one of his suits. It represents either what he sees from his point of view when he’s looking out, or what is reflected in his visor.
Adobe: What made Iron Man 3 especially challenging?
Hristova: We had to do 100 HUD-only shots, which is pretty daunting. Then we also discovered that in a very short period of time, the CG Iron Man suits had made a huge leap. We met with production VFX supervisor Chris Townsend and VFX producer Mark Soper in September of 2012 and learned that the armor-like CG suits used in movies like Marvel’s The Avengers and Iron Man had gone through multiple generations, from Mk7 to Mk42. They had broken new ground in terms of the number, design, and complexity of the suits, so the HUDs had to match the new suits seen in the film.
Adobe: How did you go about taking the HUD experience to the next level?
Hristova: We needed to push the visual sense that 2D elements would really have a 3D feel, a physical presence like a hologram. We built two laser lights into the actual HUD, and were able to project holograms from them. We also gave the graphics a more tactile, textural feel. They glow in a glassy way that feels photorealistic. I know the word photorealistic can be misconstrued in many ways, but in this case it just meant that we really had to create the optical illusion of 2D objects genuinely feeling and looking 3D and even adding light streaks to the objects. We used both After Effects and MAXON Cinema4D to accomplish this. Toward the end, we started using the 3D capabilities in After Effects so that we wouldn’t have to re-render a shot every time we added a new dimension. That really sped up the process.
Adobe: When you’re working with HUDs, it’s very procedural and it’s crucial to maintain consistency from one graphics effect to another. That requires a lot of complex math. How did you deal with this in Iron Man 3?
Lawes: After working on HUD VFX for three different movies, including The Avengers, we created a rig that sets up the math expressions so that they are embedded within the script. The rig uses 3-point tracking in After Effects that captures the two corners of the eyes and the tip of the nose and triangulates that data to create a virtual 3D space. The VFX artists can focus on being artists, not programmers, and that’s what we want to achieve. We also train each artist on how to maneuver, track, and animate the HUD with some intuitive booklets we’ve created so they don’t have to know the math behind it. One caveat: most of our VFX artists are experienced and have previous knowledge. We don’t want to take risks with the HUDs because they’re pretty difficult to wrap your head around (no pun intended). We averaged only about seven to a maximum of ten experienced artists over five months because we’d prefer to use fewer experienced artists, dedicated for longer periods of time.
Adobe: How did Cantina create the graphics shots?
Hristova: At Cantina, we work together to maximize our strengths and many artists contribute to most shots. The graphics on this project were created in After Effects with a team of artists and production staff that included Sean Cushing, Lily Shapiro, Alan Torres, Leon Nowlin, Matt Eaton, Aaron Eaton, Lukas Weyandt, Jon Ficcadenti, Johnny Likens, and Jayse Hansen.
Adobe: Did you also create the HUDs for other characters?
Hristova: Yes, we created a HUD for Rhodey and other characters. We did around 40 HUD CG shots just for Rhodey. Again, we combined mini-teams and assigned them to specific projects so that everyone could maximize his or her strengths.
Adobe: As you move into using Adobe After Effects CC, are there any features you’re especially excited about?
Lawes: Specifically for us, the integration of Cinema4D in After Effects CC is fantastic because we won’t have to be hopping back and forth between applications, and rendering time will be greatly minimized. Also super helpful for us in After Effects CC is the 3D tracking and the new scaling algorithms—both have improved by leaps and bounds. Adobe meets in person with us a couple of times each year to exchange ideas. We love it because we’re able to provide technical feedback into how the development team can help solve the issues we face, and the Adobe team is very savvy and responsive.
Adobe: Why is After Effects CC so well suited for what you do?
Hristova: I think in many ways, we’re the ideal customer for Adobe’s video tools. Our work spans motion graphics, as well as VFX for film and commercials. So we cover the same ground After Effects covers. We use After Effects 90% of the time in our workflow.
Adobe: What’s next for you?
Lawes: We are collaborating with our close friends and neighboring office mates, Bandito Brothers, on Need for Speed!, which is based on the popular Electronic Arts game and slated for release in February 2014. This is going to be huge, as in roughly 900 shots. We’ve got a couple of interesting commercials and movies coming up that we can’t talk about yet, too.
One of the things we’re most excited about is that Venti and I are starting to co-direct commercials that are spec projects with no client involved, so we’re letting our creativity run wild. We’re using more craft-oriented animation techniques, from hand-drawn pieces to stop-motion and 3G, incorporating more of a mixed media approach. Ultimately, this will encompass the launch of an entirely new spin-off company, Little Foot, and the productions will appear on social channels. It’s very entertaining for us, and, of course, creative freedom always makes us happy.
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|Andrew Kramer focused on movie titles while OOOii team created stunning graphics and heads-up displays for blockbuster film|
Resurrecting the classic science fiction franchise of Star Trek is certainly a challenge that any motion graphics and VFX artists would gladly accept. For the latest installment, Star Trek Into Darkness, Andrew Kramer of Bad Robot and author/owner of the site Video Copilot was the lucky one tapped to create more than 30 title sequences for the movie. Production studio OOOii eagerly took on the job of designing all user interfaces and future technologies within the movie. Kramer, OOOii CEO Kent Demaine, and Lead Designer Jorge Almeida all shared their great experiences working on the latest seminal Star Trek film (now available on DVD).
Adobe: What were some of the unique challenges of creating titles for Star Trek Into Darkness?
Kramer: I’m sure the folks at OOOii will agree that one of the biggest hurdles was that the film was shot in stereo so everything had to be “true” 3D from start to finish to look realistic and fully dimensional. We used After Effects and Video Copilot’s Element 3D plug-in to create real 3D object-based particles within After Effects. We had a short timeline to create 30-plus titles, so we did not have the hours or need to delve into what people might consider a full-fledged 3D tool. The other challenge was that we had to stick to the same basic Star Trek aesthetic, but make everything more refined and pay strict attention to details.
Adobe: Tell us about the work you did on the film.
Kramer: With a short timeline to create and finalize the titles—filled with very long days and nights—we created more than 30 different titles. JJ Abrams, the film’s director, asked me to come up with a more refined, updated-look for the extreme space fly through title sequence. We had a small modeling team that created a library of high-quality 3D planets, from moons to asteroids and ice planets. The planets were color-corrected and we even designed a planet that broke into pieces of debris. We replicated the pieces hundreds of thousands of times and had them breaking off to give the scenes a sense of depth.
There were multiple “spacescapes” and we needed to make sure they were colorful, vivid, and tangible with debris, asteroids, lens flares, and so on. The cool thing about the lens flares is that they are built from scratch by filming them and then isolating each individual lens flare frame iris in Photoshop and then adding textures. We got some really fun effects. Ultimately, we wanted each title scene to have its own unique world. For example, we created one unique world with the sun burning with hot-looking tendrils as the core. We built a texture using animated fractal noises. As you can tell, we had a lot of fun and tried new techniques that we never had before. The ability to work natively in After Effects for a stereo workflow, not having to render out each planet individually, and being able to make changes dynamically that affected all of the designs was pretty critical.
Adobe: Kent, what was your team’s primary role?
Demaine: OOOii worked closely with the art team and the Production Designer Scott Chambliss to develop iconography and a visual language for this iconic film. Our interfaces and vision of future technologies helped define the revamped USS Enterprise and Starfleet and support the unique vision of the filmmakers. Our specialty is information technology design and human-technology interaction. This involves the creation of things such as holograms, digital signage, and interfaces on devices. Our use of this expertise in films helps provide a vision into new interaction modalities with technologies such as mobile phones—everything we do focuses on natural interaction models that happen between users and information.
Almeida: All of our designers are set up with full Adobe Creative Cloud pipelines. We started by creating some concept art that gave an idea of the style and then we designed based on those concepts, using the previous movie as a guide. Initial designs were done in Illustrator and Photoshop, but by the middle of the film when we had a lot of the elements built we would just go straight into After Effects. Once we hone in on a look everyone likes, we start showing animation tests. There is a lot of back and forth, but as the production moves along everything becomes more specific.
Adobe: Can you give us an idea of the scope of the work that OOOii did on the film?
Demaine: We created more than 300 production and post-production shots over a year’s time. We do the designs and we often composite them, too, but in this case ILM composited the graphics and HUDs into the scenes.
Adobe: Here’s a question for both you, Andrew and Kent: did you use Adobe Premiere Pro for any of your work on Star Trek Into Darkness?
Kramer: We used Adobe Premiere Pro for editing, timing, and prepping primarily. We would do all of our timing and figuring out the music beats, bring in the score, and lay in the still frame designs before we did the camera movement and final compositing. We also used Premiere Pro to determine reference points of different locations for animators so that everything moved in one flowing, orchestrated whole. This was important because there were thousands of layers involved because of the complexity of our stereo camera rig.
Also, one of the key things in the title sequence was getting the color right. For that, we used Adobe Bridge to open the screen shots of each planet design, for instance, and show them all on the screen at one time to see what color palette looked the best: blue highlights, green highlights, too much red, needed more monochrome, and so on. We used it as a color reference for final output before animation.
Demaine: We were traditionally an Avid or Final Cut Pro shop but we’re now exclusively Premiere Pro. We do a lot of plate acquisition through RED cameras, and with Premiere Pro we’re able to drop whatever we are given onto the timeline. We can get camera data from ILM and render out graphics using that information. Like Andrew, we also used Bridge as a file management tool because it let us preview files, visualize layers in files, and drop them into different programs with ease.
Adobe: What about Adobe Creative Cloud? Are you using it, and if so, what are you most enjoying about the newest version of Adobe’s cloud-based video and creative software?
Kramer: I’ve been using Creative Cloud for a while now and, although I know it’s not an entirely new feature, the Warp Stabilizer in After Effects is definitely more advanced and mature. The stabilization movements seem more fluid, and that saves a lot of time. Also, After Effects seem to work more responsively with plug-ins, with faster GL rendering speed, so that saves a lot of time. The quality is magnificent, akin to IMAX feature quality.
Almeida: I’m having a lot of fun using the 3D features in After Effects to build animations. I’ve also just started to dive into Cinema4D and look forward to exploring what that integration can do. The speed and flexibility of After Effects are what I like the most. I often get to the point in post where I’m designing directly in After Effects as much as anything else. I actually prefer it because I can start building things that are more of a finished product and After Effects just lets me design on the fly.
Demaine: Adobe Creative Cloud came along right when we were finalizing this project, but we were already beta testing it and we are impressed. We really like the instantaneous feature updates and more predictable pricing that Creative Cloud offers. I think it’s a good step forward that will let us take advantage of Adobe innovations even faster than before. We’ll also continue to venture into other areas of Adobe’s tools without additional charge. For example on this project, we worked with BlackBox Digital and used Adobe Flash Professional and Adobe AIR extensively to create a cool mobile app that revolves around some of the most impressive VFX scenes in the movie. We think this is just the beginning of what Adobe Creative Cloud will facilitate.
See how Andrew Kramer created the titles for Star Trek Into Darkness using After Effects and Element 3D.
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