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MPC creates spectacular visions

Global VFX studio produces extraordinary motion graphics and visual effects with Adobe Creative Cloud

MPC is one of the world’s leading visual effects and motion graphics studios, with more than 2,000 employees in eight global offices. The studio’s work includes blockbuster films such as Godzilla, the Harry Potter franchise, and Life of Pi, and advertising campaigns for global brands including Samsung, Ikea, and Visa. MPC works with agencies, production companies, directors, and does some direct-to-brand engagements as well. Senior Motion Graphics Designer Will MacNeil, PR Manager Ella Boekeman, and Creative Director Dave Haupt explain the role of Adobe Creative Cloud in bringing their visions to life.



Adobe: What is important for us to know about MPC?
Boekeman: MPC does everything from initial concept art, treatment consultation, pre-visualization, shoot supervision, 2D compositing, 3D/CG effects, animation, color grading, and digital and experiential production. We have three main areas of work, MPC Film, MPC Adverting, and MPC Creative. MPC Film are best known for their work on blockbuster films and won the Academy Award in VFX last year for their work on Life of Pi. We launched MPC Creative as our standalone production arm to service clients who want us to manage the entire production process and to develop a more innovative range of technology-based solutions to their creative challenges. MPC Advertising is our more traditional commercials work.

Adobe: How does MPC use Adobe Creative Cloud?
MacNeil: As a motion design studio, we rely on Adobe tools every day. Artists use Photoshop CC at the beginning of projects when we’re designing ideas for pitches and during project design when we’re mocking up frames, textures, and backgrounds. We use After Effects CC for compositing video material. Adobe tools are the most fundamental part of the work we do.
Haupt: We also use Illustrator CC. For instance, we get a lot of photo-real shots and graphics that we animate. We start in Photoshop or Illustrator, and then bring the images or graphics into After Effects.

The integrated Creative Cloud toolset is surprisingly simple. When we recently added Adobe Premiere Pro CC to our workflow, we thought it would be slower than our traditional pipeline. But when we conformed a three-minute promo for Camay soap, it was just as fast. Plus, it’s seamless to transition between desktop applications. We use InDesign for all pitches and treatments.



Adobe: How would you describe the general workflow at MPC?
Haupt: Our work varies quite a lot because we cover everything in the design spectrum including posters, online, and events. Typically, we meet with a director or agency and listen to their ideas and input. After that, we talk about the best way to shoot it. Everybody is trying to maximize budgets and extract greater value, whether in-camera, in VFX, or a mixture of the two.

After we come up with the best solution, we start doing concept work. We do a lot of character concept work and use Creative Cloud for pre-visualization. Quite often we use storyboard frames to make quick animatics that help bring ideas to life.

Adobe: What do you like about working with Creative Cloud?
MacNeil: Creative Cloud opens up projects to more people in the studio. A team may include one animator leading the job, while others focus on specific shots, visual effects techniques, or looks we’re trying to achieve. We give everyone a task that suits their skills, whether it’s drawing in Illustrator or creating animations in After Effects.
Haupt: The big thing is getting everyone involved. While we’re writing scripts and looking at locations, we’re always mocking up concepts, doing animation tests, and constantly working on the project so when it comes in from the editors, we’re ready to move forward.



Adobe: What were the drivers behind MPC’s switch to Adobe Premiere Pro CC?
Haupt: We were using Final Cut Pro, but wanted to explore Premiere Pro because of its tie-in with After Effects. Some projects have smaller budgets, so we needed a way around using Autodesk Flame for visual effects to save money and time. Now that we’re using Premiere Pro, we love it.
MacNeil: When we first worked with Premiere Pro CC we were impressed with its performance, as well as its integration with the rest of the Creative Cloud applications.

Adobe: Can you tell us about a recent project you completed using Adobe Premiere Pro CC?
MacNeil: We recently completed a title sequence and graphics package for German channel ZDF’s Champions League coverage. The job was directed by our in-house team Tom Robinson and Steve Ross. Premiere Pro CC was an essential tool on the project. The job required reworking live action football footage into an outer space environment full of nebulae, asteroids, and planets, with lots of particle and FX work. The main title was made up of a series of live action shots, but placed together in a single, seamless camera move.



We used Premiere Pro in the animatic stage to try different live action shots against our music and to see how different shots worked together. Once a potential shot came in, we’d start to do some rough compositing work in After Effects and then, using Dynamic Link, we could open it in Premiere Pro and try it in different parts of the cut. We could move it all around the timeline and see how it played against the music, and also with the adjacent shots.

We used the time remapping in Premiere Pro, which is surprisingly simple and quick, to create speed ramps to work with the music. If we needed to make simple changes to the composite, we’d just open the shot in After Effects, tweak it, and then pop back into Premiere Pro where it would automatically update. Then we could get this updated offline to our clients very quickly and respond accordingly to their comments. It made what could have been a very tedious and time-consuming process much less painful.

Adobe: What other projects have you done using this workflow?
Haupt: We’ve worked on a number of fun projects recently, including a Bentley promo, a commercial for UK mobile provider Three, and an epic commercial for adidas that we’ll be discussing at IBC 2014. We’re always excited to work on projects that lead our team in new creative directions.

Watch the interview with William (Will) MacNeil






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Posted by: Adam Spiel on Oct 1, 2014 at 3:19:38 pm Creative Cloud, Customers

Karrot Animation expands 2D possibilities

Animation studio produces children’s series using a workflow enabled by Adobe Creative Cloud and CelAction

Rapid technology advances have made computer animation one of the fastest growing industries in Europe and North America. The demand for animated entertainment is growing partly due to expanding broadcasting hours for cable and satellite TV and the ever-increasing popularity of the Internet. Since it launched in 2008, the United Kingdom’s Karrot Animation has become a recognized industry leader, producing 2D animated shows including the international hit Sarah & Duck. Karrot co-founder Jamie Badminton attributes the company’s success to a talented team supported by efficient workflows.



Adobe: How did you develop the Karrot team?
Badminton: I studied to be an animator at Arts University Bournemouth and was in one of the last classes to do hand-drawn animation using cels and cel paint. I learned a lot about storytelling, which has been very helpful lately. I met Karrot co-founder Chris White when he hired me to illustrate a children’s book. We discovered we were both interested in television. He wanted to create children’s programs and my desire was to tell animated stories over multiple episodes. I’ve always been more a fan of television animation than feature film animation.

I went to university with Tim O'Sullivan, who’s our third partner. He was exceptional at solving storytelling problems and a very talented animator. Together, the three of us realized that if we created a studio to do commercial work, we could gain the ability to scale up and produce television programs when an opportunity came along. We used any available downtime to develop TV ideas. When we got a commission to create short videos for the BBC, we hired eight people for six months. When the contract finished, we kept everybody on to develop television ideas.


A layered comp in Adobe After Effects CC for Sarah & Duck

Adobe: Did you have particular kinds of shows in mind?
Badminton: We decided to create ten series ideas—five for children and five for adults. Sarah & Duck rose to the top. Tim developed the idea with Sarah Gomes Harris who designed and created the core of the stories. In some respects, it’s about a 7-year-old version of Sarah and her childhood love of ducks. A short pilot created in Adobe Flash Professional opened a few doors for us, but we knew we needed a more serious pipeline. We adopted CelAction because it has an item tracking system that suits TV production and we were able to pitch and win some broadcast contracts.


Sarah & Duck Character animation in Adobe After Effects CC

Adobe: Can you describe the production workflow?
Badminton: Being a small organization, we always wanted to create the show under one roof and that’s the crucial part of what Adobe Creative Cloud lets us do. We use Audition CC to collect and edit audio, Premiere Pro CC for animatics and final editing, After Effects CC for character composites and backgrounds, and we create the character art in Photoshop CC. Our animators can store artwork and layers created with Adobe tools in CelAction and work on scenes together. We then output .png sequences from CelAction to After Effects for comping and Premiere Pro for finalization.


Sarah & Duck final edit in Adobe Premiere Pro CC

Adobe: How long does it take to produce each episode?
Badminton: For each episode we assign one art director, two designers, one storyboard artist, one scriptwriter, one animation director, and four animators. A typical episode takes three weeks to produce in each department. The animators complete about six-and-a-half seconds a day for three weeks, which gets us to our six- and-a-half minute episode total.


Sarah & Duck storyboard

Adobe: Tell us how you bring the audio and animation together.
Badminton: The singular drawn panels are brought into Premiere Pro and the JKL trimming feature in Premiere Pro lets us dynamically trim clips on the timeline. This saves us so much time because we cut hundreds of pictures into the animatic to show everyone what it will look like.


Dynamic trimming in Adobe Premiere Pro CC for Sarah & Duck

We edit all audio in house using Audition and we don’t lock the sound track before we do our storyboards because we find this limiting. We like having the flexibility to hone the voice tracks while we’re syncing everything together in Premiere Pro. Everything is adjustable until we lock the animatics, which gives us full control over the storytelling process.


Audio editing in Adobe Audition CC for Sarah & Duck

Adobe: Why did you want to do everything in house?
Badminton: It was just crucial that we learned the lessons of making a TV show firsthand. If you start out working with a co-production company straightaway, you don’t know what parts of the process you can’t let out of your sight or what bits you can give more leeway. Adobe software absolutely enables us to do this for the right price.

Adobe: How much are we talking about in terms of cost?
Badminton: Film quality 3D animation can cost upwards of £200,000 per produced minute. Plus, it’s time consuming. The 3D rigging for the character Shrek took 18 months. In television, other producers are creating shows for about £12,000 per minute. Right now, we produce Sarah & Duck for about £8,500 per minute, which is relatively cheap.

I think that’s why a lot of other animation studios are also starting to use a similar process. Our show is seen by many as the benchmark for high quality on a tight budget. We’ve found the magic triangle of cheap, fast, and quality, which doesn’t happen very often.


Editing Sarah & Duck in Adobe Premiere Pro CC

Adobe: What would you say distinguishes Sarah & Duck from other shows?
Badminton: There are two main things I think we do differently. We give our art directors more time to develop backgrounds and other elements that provide tremendous on-screen value. We also crafted our workflows to enable creative flexibility.


Creation of background for Sarah & Duck in Adobe Photoshop CC

The art director works on storyboard images and produces an art pack, which gets signed off before everything else moves forward. The rest of the team can then look at the art director’s layer files, use of textures, and other flourishes. The show looks quite organic, but the number of textures that we use will surprise people, which is cool. We may use rusted metal, or exotic tile from Marrakech to create unique textures, and those kinds of elements are totally unexpected in preschool TV. It gives our 2D animation a lot of depth and visual appeal.

The art pack is also the last time the BBC gets to approve artwork until we’re finished, so it’s a good production checkpoint. We budget three weeks per department for each show, but we try to be flexible. We want the design team to see what they can do with mixtures of After Effects, 2D puppet characters, and even frame-by-frame animation created in Photoshop. Our editor Mark came up with a great analogy in that the process of producing the show is a lot like watching a duck swimming. Ducks look like they’re gliding along the water, but underneath the surface, they’re kicking like crazy to create the effortlessness that people get to see.

Watch the interview with Jamie Badminton






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Posted by: Adam Spiel on Sep 30, 2014 at 1:29:13 pm Creative Cloud, Customers

Philip Bloom follows passion and earns passionate following

Freelance filmmaker relies on a variety of cameras and Adobe Creative Cloud to create documentary and fiction projects

Filmmaking is less of a career and more of a way of life for Philip Bloom. He began his 24-year career focusing on news and documentary work, building his skills in all aspects of video production. Today, he’s a prolific freelance filmmaker and outspoken proponent of low-budget video. Everyone from hobbyists to experienced professionals look to him for information on what cameras, software, and gear they should be using. In addition to being a vocal Canon supporter, Bloom also advocates the use of Adobe Premiere Pro CC for video editing and regularly shares his knowledge and experiences with more than one million monthly website visitors.



Adobe: How did you first get started in editing?
Bloom: I’ve been working in editing for nearly 25 years. I first went to work at a news bureau and they gave me three days to learn how to edit. I picked it up so quickly, by my first day on the job editing I was cutting the lead package. It was an easy, natural thing for me. Eventually I moved to the documentary unit and spent 15 years traveling the world shooting and editing stories.

Adobe: Why did you stop working in broadcast?
Bloom: The station I was working for decided to shut down the documentary unit and go back to 24-hour breaking news. I’d been in charge of the unit for three years and didn’t want to go back to editing news. It was a comfortable, well-paying job, but documentary work was my life and my passion, and I’d always told myself that the moment I felt like I needed to move on, I would move on.



Adobe: Were you excited to start working as a freelancer?
Bloom: It’s very difficult to jump out on your own and this was the push I needed. Luckily when I left a former colleague offered me a documentary series with a different network so I got to jump right in doing something I love. I’ve always tried to do different projects and stretch my skills.

Adobe: How did you build your online presence?
Bloom: My website and social media presence are a by-product of a show I did online. I started working with some new technology that was supposed to make content look more cinematic and filmic, and I decided to share my journey on a blog. I experimented with different cameras to see if I could get the same look as I could with more expensive cameras. It became really popular and people started following me.



Adobe: What made you want to continue sharing your experiences?
Bloom: When I worked in news editing, I had a mentor who taught me a lot. Those types of staff jobs don’t exist as much in the television industry anymore, so people have to find their own way. I like to share what I’m doing so others can learn from it. I’m actually very similar to a lot of freelancers out there. I’m very much in touch with all levels of production from very junior to high-end. I have experience working among all of them, so it’s great to be able to share how things work for me and how they can work for others.

Adobe: What are some of the challenges with having such a strong online presence?
Bloom: My time is limited, and having thousands of emails is a responsibility. I’ve also been surprised at how negative people can be online, especially when you’re just trying to help. The Internet is a great way for people to share ideas and form communities, but people can sometimes behave in ways they wouldn’t if they were sitting next to you. It’s important to remember that there is a human being at the other end.



Adobe: What advice do you have for young filmmakers?
Bloom: That’s a tough question. We live in the age of Twitter and people want advice on how to be successful in 140 characters or less. There’s no magic formula. I just tell them to work hard and be patient. I’ve worked hard to get where I am today and I’ve learned what works and what doesn’t work. Many young filmmakers are impatient and want success to come knocking at their door, but they have to go out and find it. It’s a hard search. Many will think about quitting, and some will fail. It takes time and effort to build a reputation, clients, and a body of work.

If you want to become a freelance editor it’s important to learn an editing system so well that it’s second nature to you. It should become so intuitive that you’re not thinking about the software, you’re only concentrating on the story. Stop obsessing about the software and the camera. Buy something and go tell your story.

I built a reputation in news and when I went freelance after 17 years I had to build my reputation again. I think it is easier to get your work seen these days with the internet. If you’re good enough you’ll get seen. It comes down to a lot of different things to get noticed or to create a viral video, but there’s no guarantee that a viral video will lead to a successful career. You may have a fluke and good timing, but then you have to follow it up with something new. That’s the constant conversation I have with most people on the internet.

Adobe: Is this where you thought you’d end up when you started freelancing?
Bloom: I didn’t have a grand plan when I started freelancing seven years ago. I knew I wanted to work in film, but I didn’t foresee the social media part of the equation. Social media needs to be organic and natural and genuine. You have to be you, the good and the bad. I have a dry sense of humor, which doesn’t always translate, so I’ve had to learn from that. But I’m convinced that if you try to plan it all out you won’t be successful.

Adobe: After working with Adobe Premiere Pro for a couple of years, what are your favorite features?
Bloom: I can cut half hour programs in a day and put them to air. If something needs to be cut quickly, I can do it. I switched to Premiere Pro three years ago and I’ve never looked back. The great thing about Premiere Pro is the immediacy, because it takes everything native. I was just finishing up a documentary for a client and they shot loads of footage and asked me to transcode it all. I felt like I was going back 10 years. As a freelancer, time is money and Premiere Pro CC lets me work fast and efficiently.

I also appreciate the portability of the software. I always have projects going, from features and corporate projects to reviews or my latest show reel. I edit wherever I can, on my Mac Pro or on a laptop on a plane.

Adobe: What other Adobe Creative Cloud applications are you using?
Bloom: I know Premiere Pro really well, and I know enough After Effects and Audition to get by. I’ve learned what I need to know and I’ll learn more when I need to know more.

Watch the interview with Philip Bloom






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Posted by: Adam Spiel on Sep 29, 2014 at 9:35:18 am Creative Cloud, Customers

Hyper-local daily programming from London Live

First new UK television station in 13 years produces local daily programming using Adobe Creative Cloud for teams

Citing a lack of genuinely localized programming, the independent regulator of communications in the United Kingdom, Ofcom, asked media businesses what they would do with a Local Digital Television Programme Service (L-DTPS) license. The London Evening Standard and The Independent newspapers proposed London Live, a 24/7 television station dedicated solely to producing programs for London audiences. Bryn Balcombe, technology director for London Live, is the primary architect of the new station’s broadcast and production infrastructure. He chose Adobe Creative Cloud for teams for its ability to support production and distribution of standard definition television over the air and high definition television on any device.

Adobe: How was London Live chosen over other L-DTPS applicants?
Balcombe: The tender process was not a financial bid. Ofcom wanted to know how we would use the license to support local programming. We proposed producing five-and-a-half hours of news and current affairs every day, plus one to three hours of locally-produced entertainment content per day. The rest of the broadcast schedule includes historical content, retro television series about London such as London’s Burning, and acquired or commissioned shows shot or produced in London, including Place Invaders, Drag Queens of London, and Food Junkies. Ofcom believed our proposal would deliver the most value to the local community, especially because of our commitment to news and local affairs.


Food Junkies cuts straight to the core of London’s food scene. With big flavours, bigger portions & the biggest characters, it’s the ultimate guide to who’s eating what & where.

Adobe: How long did it take to launch London Live?
Balcombe: We had seven months to get everything up and running. Other than the London Evening Standard and The Independent committing their support, we had nothing in place. We had to assemble the team and put the broadcast infrastructure together from scratch. We went live on March 31st.

We chose Premiere Pro as a key resource because the multiformat timeline gives us more flexibility. We also like the open, plugin architecture and its ability to integrate with other vital newsroom technologies, such as Sienna and ChyronHego. We transcode with Adobe Media Encoder CC, build graphics with Adobe After Effects CC, and use Adobe Photoshop CC for different online and live graphics purposes.

Adobe: How are you supporting your local news operations with Adobe Creative Cloud?
Balcombe: We’re covering London and 33 surrounding boroughs, and we want to produce content at the hyper-local level. Our ten video journalists need tools that are fast, light, and mobile to cover it all and they use Premiere Pro exclusively. They gather high-definition images and video using Nikon DSLR cameras, which they can edit immediately using Premiere Pro installed on 13-inch Apple Macbooks we had designed for use in the field.

Production journalists in the studio also use Premiere Pro on desktop iMacs. With our scripting tool, AP ENPS, they can edit show openers and make changes to packages practically right up to air time. Premiere Pro is also essential for re-cutting stories. We have a three-hour morning show, for example and we evolve the content from one hour to the next.

Premiere Pro is also our failover solution. We use an automated Sienna media asset management system for news archiving and playout, and most of the journalist packages are sitting in there ready to be aired during the live broadcast. However, two of our iMacs have been set up for manual playout, so we can also play late-breaking news directly from the Premiere Pro timeline to air.


An eye-opening docusoap celebrating and showcasing the diversity and dynamism of London's drag scene with exclusive access to the best queens in town!

Adobe: What kinds of editing projects are you supporting with Adobe Premiere Pro CC?
Balcombe: For the acquired and commissioned programs, we have to make sure that they are broadcast-ready and meet regulatory compliance standards. We have three editors who use Premiere Pro to help ensure that the language in any program is appropriate for the time of day, for example. They also make sure that the shows are compatible with our Ericsson playout system. With Adobe, we can be more flexible on the formats of incoming media, edit any format on the Premiere Pro timeline, and then output with Adobe Media Encoder CC.

Another team of three editors produces all of our promotional material. There’s a lot of cutting, such as taking video snippets from upcoming programs and adding graphics we produce in After Effects. Premiere Pro lets us take source materials from different providers in different formats and put them all on one timeline to get exactly what we’re looking for.

Adobe: Where does Adobe Photoshop CC fit in?
Balcombe: We do two exports from Premiere Pro, one for broadcast and one for our web and mobile channels. We use Photoshop for a lot of our online content and for graphics. The digital team takes screenshots from video or collects images from news or wire feeds and uses Photoshop to format them for web and mobile devices. We also use Photoshop to prepare images for use in our newsroom’s live graphics system from ChyronHego.

Adobe: What do you expect the newsroom of the future to look like?
Balcombe: Our license from Ofcom allows us to broadcast in standard definition quality until it expires in 2026. We could have gone all SD, but we expect the technology to change massively between now and then. Right now SD is our broadcast, terrestrial cable, and satellite format. But we produce everything in high definition. Our field and studio cameras are all HD, so we are not limited by initial quality. Everything we distribute digitally is in HD.

One of the visions behind putting journalists in the field with laptops is to use IP-based connectivity. We use microwave Ethernet service instead of satellite trucks, and that lets us playout directly from the Premiere Pro timelines on their Macbooks. We can turn them on anywhere, whenever we need to, and it’s seamless.

Adobe: Now that London Live is on the air and on the web, what’s next?
Balcombe: We built the foundation at the minimum cost just to get it running. Now that we’re live, we are fine tuning. We are learning a lot about who’s doing what, how they’re doing it, what they need, and what will drive efficiencies. As we continue developing our vision of taking the entire station and putting it in the cloud, we are looking at other Adobe solutions, such as Adobe Anywhere for video collaboration, Adobe Primetime for live, linear, and video-on-demand programming, and Adobe Experience Manager for content management.

Watch the interview with Bryn Balcome






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Posted by: Adam Spiel on Sep 28, 2014 at 8:16:01 pm Creative Cloud, Customers

Red Bull Media House gives wings to video innovation

Multi-platform media company produces premium sports, culture, and lifestyle content with help from Creative Cloud

From its start selling energy drinks, Red Bull has expanded into an international brand with streaming video through Red Bull TV, the Red Bull Records independent music label, and sponsorship of dozens of athletes, teams, and events. For the past seven years, Red Bull Media House, a subsidiary of Red Bull, has overseen all of the company’s communications and media, taking Red Bull to the next level as a full-fledged lifestyle brand. Andreas Gall, the chief technology officer at Red Bull Media House, gives wings to emotional content that connects people with the international Red Bull brand.



Adobe: How did Red Bull Media House get started?
Gall: About seven years ago, I met with the CEO of Red Bull, Dietrich Mateschitz, and he asked me to be part of Red Bull Media House. The idea was that we would pull together the print, video, audio, and digital projects across Red Bull and concentrate all of that fantastic creative energy in one location. I have a lot of experience in broadcast media, so I understand how to bring stories to life. From the way I see it, my job is to keep on top of technology and technological strategies to push the envelope on how we explore people, stories, and ideas.


Mark Mathews in Sydney - 2014

Adobe: What does Red Bull Media House do?
Gall: We handle all of the communications for the entire Red Bull family of companies. That includes especially coverage of Red Bull's events, from sports to music and more. We’re much more than just TV commercials and magazine ads. We produce exciting short and feature-length films, engaging video magazines, and even deliver live coverage of international events through Red Bull TV. If you look at the Red Bull Content Pool, we have a massive online archive of more than 120,000 assets produced by Red Bull Media House—and we’re adding new content every day.

Much of our content covers high-action sports, which has been the core of the Red Bull DNA for years. We’re always looking for new ways to find really emotional content and bring our audiences closer to the athletes’ experiences.


Red Bull BMX Hero Tour 2014 UK

Adobe: Why did you make the switch to Adobe Creative Cloud?
Gall: If there’s anything we know at Red Bull, it’s the importance of pushing the limits. We have a lot of great ideas that we’d love to see—like enhanced visualizations and biometrics—that don’t have a solid technological answer yet. That’s why it was much less important for us to find a system that worked for where we are now, and more important to find a motivated partner who was willing to work with us to change the media world.

I really like how open Adobe is to exploring with us. Adobe comes from a very creative background, so the product development teams are very interested in ideas and concepts that will lead to new creative expressions. We’ve had meetings with Adobe about working with Premiere Pro and XMP, and we’re starting to paint a picture of how we want to evolve together.


Red Bull Battle of the Sund 2014 Sweden

Adobe: What Adobe applications are you using?
Gall: We’ve had people working with Adobe Photoshop and Adobe After Effects for years, but the biggest change has been our switch to Adobe Premiere Pro CC. It’s going to be central to the architecture that we’re planning with fast edits and fast production. Once we’re fully switched over, we’ll standardize on Adobe Prelude CC to streamline production even further. With everything going through Prelude, we’ll reduce ingest and make edits considerably faster.

We’re starting to dive into the rest of the applications available in Creative Cloud as well. There’s been a lot of interest in Adobe Story CC and Adobe Anywhere to encourage creative collaboration around the globe.

Adobe: What is the future for Red Bull Media House?
Gall: We’ve got some ideas for how we want to move forward. For example, we think it would be fantastic if we could really connect athletes with fans by giving athletes the ability to create and upload their own media. This is just one of many ideas we’re exploring, and Adobe is with us every step of the way.

Watch the interview with Andreas (Andi) Gall






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Posted by: Adam Spiel on Sep 18, 2014 at 2:38:39 pm Creative Cloud, Customers

Creating daily dramas for German TV

Production company standardizes on an Adobe Creative Cloud workflow to efficiently deliver up to 28 TV episodes per week

For more than 20 years, UFA SERIAL DRAMA has produced some of the most popular serial dramas in Germany. Classic shows such as Good Times, Bad Times (Gute Zeiten, Schlechte Zeiten) and Among Us (Unter Uns) have been on the air for more than 4,000 episodes each. UFA SERIAL DRAMA currently runs five daily shows and can produce up to 28 episodes in a week; for this team efficiency is key. Post-production supervisor Marc Schwellenbach works with the post-production teams to continually refine and optimize the standard workflows to be as quick and smart as possible.

Adobe: Tell us about the shows you produce through UFA SERIAL DRAMA.
Schwellenbach: We produce five unique daily serial dramas, which translates to 800 minutes of material every week. Four of our shows run in Germany. In fact, the first series that we produced back in 1992, Good Times, Bad Times (Gute Zeiten, Schlechte Zeiten), was the first daily serial drama made for German television. It’s still on the air; we passed the 5,000 episode mark a few years ago. Even our “newest” series has been around for eight years and nearly 2,000 episodes. Our fifth show is actually a serial drama made for Hungarian audiences. It’s been running for 16 seasons, and it’s one of the top-rated shows in Hungary.



Adobe: Why are production workflows so important to you?
Schwellenbach: We work on five shows that run five days a week with almost no breaks. To get all of the shows ready for air, we may produce up to 28 episodes a week. We need a rock-solid workflow to keep up the pace without compromising quality.

We have one big advantage on our side: experience. We’ve learned over the years to take the time to think through our workflows and look for ways to improve them. We take it a step further at UFA SERIAL DRAMA by standardizing about 90% of our workflow across productions. If one team comes up with a new process that helps them work faster and better, we can easily apply their innovations to other teams.

Adobe: How has your software changed over the years?
Schwellenbach: Several years ago, we switched from Avid to Final Cut Pro with the intention of becoming more flexible and speeding up workflows in post production. We worked with the Final Cut Pro workflow for a few years, but we felt that we still needed to move our editing process to the next level. By better integrating editing into the rest of the post-production workflow, we would improve turnaround speed for dailies and increase our overall speed and efficiency.

We recently started looking into Adobe Premiere Pro, and that’s when we realized the advantages that we could achieve using the integration between Adobe creative applications. With Adobe Creative Cloud, our workflow has not only gotten faster, but also tighter. We’re tying everything together into one smooth Adobe framework, which helps us get much more power and flexibility out of our daily workflows.



Adobe: How important is the integration of Adobe tools to your workflows?
Schwellenbach: We had used Adobe After Effects and Adobe Photoshop before, but we had never considered how everything could work together in a bigger way. The integration among Creative Cloud applications not only changes how we work, but it encourages us to think about how all of the steps fit together to create the big picture.

Previously, our post-production artists would use After Effects to composite green screen shots and hand the finished shots over to the editors. The Dynamic Link between After Effects and Premiere Pro simplifies things so much. Even our editors who are not visual effects artists use After Effects to create their own graphics, or use templates we’ve created for graphical inserts, such as cell phone displays. They can then easily bring these effects into their Premiere Pro workflows. Edits and adjustments are practically seamless, as we no longer need to wait to export and import clips. We can be much more flexible while maintaining consistent information on the shots.

We also appreciate how Adobe software invites collaboration. We see lots of great third-party integrations, and with Adobe XMP and panel integration, we can even see ourselves leveraging metadata to develop our own integrations as we need them. The Adobe framework opens up whole new ways for us to speed up and simplify the workflow.



Adobe: What steps did you take to transition to Adobe Premiere Pro?
Schwellenbach: The key to a smooth transition is planning and communication. When you’re changing a key component of your workflow, you have to make sure that you think through everything beforehand. We didn’t want to even start the move until we were sure that our editors would be able to work faster right away. We talked with editors about the changes that they wanted to see and used their input to design the new workflow. Giving them ownership of the transition helped to assure them amidst the changes.

Trainers worked with our editors to help them feel comfortable with the new software and features. The entire transition felt very collaborative with Adobe, with everyone coming together for a common goal. As a result, our transition has been very smooth. Two teams have completely switched over to Premiere Pro with more still in the final training phases. Our editors are very pleased with the ease and functionality of Premiere Pro. Other departments have also successfully made the move to Creative Cloud.



Adobe: Are there any other applications in Creative Cloud that you’re excited about?
Schwellenbach: Adobe Story CC Plus looks very interesting and has definitely caught the eye of our head writer. We’re currently syncing Word documents with our scheduling system, but Story will help us leverage metadata in the scripts so that we can see exactly what we need in post production.

Adobe Prelude CC is another piece that’s bound to be very useful. We’re always talking about logging on set, and Prelude and Live Logger will provide us a way to log information on set and preserve that metadata in Prelude for the post-production process. We’re already using a digital movie slate integrated into an iPad app, so I could see us using Prelude Live Logger right away.



Adobe: What is the future for UFA SERIAL DRAMA?
Schwellenbach: We started using Adobe Creative Cloud for teams, but we’re switching to Creative Cloud for enterprise as our business continues to grow and use of the software expands. We’re also talking to other businesses in the UFA family. We’ve developed powerful workflows for our fast-paced production and along the way we’ve learned a lot about working with Adobe software. We look forward to sharing our knowledge and best practices with other UFA productions.

Download a free trial of Adobe Creative Cloud apps



Posted by: Adam Spiel on Aug 21, 2014 at 11:21:11 am Creative Cloud, Customers

From under the sea to outer space

Award-winning host of underwater documentary series tackles the world’s first live-action planetarium film using Creative Cloud

Cinematographer Jonathan Bird is one of the lucky ones. He’s successfully combined his love for scuba diving and photography into an award-winning career. After more than a decade of delivering underwater photography and video to National Geographic and Discovery Channel, Bird started his own series that combines humor with science in a highly educational, family-friendly format. Jonathan Bird’s Blue World, now airing on PBS, won the CINE Golden Eagle Award, a total of eight New England Emmy Awards, and has been nominated for two National Daytime Emmy Awards. For his next project, Bird is connecting the sea and space with an innovative film made for planetarium theaters.

Adobe: Tell us why you decided to create Jonathan Bird’s Blue World.
Bird: I had been working both as a cinematographer and producer for years, but I still dreamed about working on a show that entertained audiences of all ages without talking down to them or losing the educational slant. No one else was making the show that I wanted to see, so I finally just decided to do it myself! It wasn’t until we got an audience on YouTube that people started paying attention to our show and we made the jump to TV. We just finished the fourth season on PBS.


Bird photographing Lemon sharks in the Bahamas, photo by Mark Tarczynski

Adobe: What are some of the challenges of shooting underwater?
Bird: Even in the clearest water, you need to be very close to the subject to get an image with any kind of contrast or sharpness. We try to shoot everything from less than five feet away with wide angle lenses. When trying to film wildlife, of course, that means that we have to figure out how to get close to our subjects without frightening them away.

Color is also a big issue. Blue light has a short wavelength, which makes it the only color that penetrates water well. The deeper you go, the bluer your image becomes. In shallow water we can use filters and white balance to help bring out the colors, but at greater depths the only way to add color is to use powerful lights to illuminate everything. We can’t just add colors or clarity in post, so we have to use the right camera and techniques to get it right while we’re filming.


Bird filming on the reefs of Bonaire with Atlantis LED video lights

Adobe: What is the production schedule and format of Blue World?
Bird: The show is massively low budget, but we take the time to make it good. It takes about 18 months to shoot a season. Last season we produced 11 half-hour shows. The season before that contained 9 shows. It is a magazine-style program, so it isn’t all one story. We typically put between two and three different stories together, and they can be completely unrelated. This format also makes it easy for us to package content online into webisodes.

Adobe: What can you tell us about your upcoming film project?
Bird: Space School is going to be something completely different: the world’s first live-action planetarium film. Planetariums are traditionally about space, so I proposed a film that takes people into the world where space travel and underwater experiences meet: astronaut training. Astronauts train underwater in the Johnson Space Center Neutral Buoyancy Laboratory to simulate weightless conditions, and later they spend time in Aquarius, an underwater research laboratory in the Keys, to get used to living and working in cramped, isolated conditions.


NASA's Neutral Buoyancy Lab in Houston where Bird shot for the first time with his new Gates Z100 housing equipped with a Fathom SWP44C wide angle lens and Ikelite Vega video lights

Adobe: What opportunities do planetariums represent for filmmakers?
Bird: When most people think about planetariums, they tend to think about a Zeiss machine that just shines bright lights to represent the stars. But planetariums have moved way beyond that. They have banks of computers calculating huge data sets of imagery that can fly you around the solar system. With their full, domed screens, planetarium theaters offer a completely immersive environment that will work incredibly well with the underwater footage.


Astronauts Thomas Pesquet (ESA) and Mark Vande Hei (NASA) setting up a drill designed to take core samples on an asteroid

Adobe: Why didn’t you just create a film for the IMAX DOME theaters?
Bird: There are 500 planetariums across the United States, compared with only about 40 IMAX DOME theaters. Almost nobody is making content for IMAX DOME theaters anymore because it is too expensive to make a 70mm IMAX film for only 40 screens, and it takes too long to make your money back. So IMAX has gone completely to flat-screen style 3D projections, which are absolutely amazing in their own right.

The reason why there aren’t more live-action films for planetariums is simply because they’re incredibly advanced. The planetarium market is all about realism, with content shot at 60 fps, which is unconventional for traditional movies. The displays are also extremely high resolution at 4,000 pixels square. You’d need an 8K resolution camera to perfectly fill the screen—and no commercial manufacturer makes 8K cameras! That’s why most of the films shown on planetariums so far have involved CG animation.


Filming NASA's NEEMO 18 mission at Aquarius Reef Base in Key Largo, Florida on the RED Dragon 6K

Adobe: How did you approach making Space School given these requirements?
Bird: When we started, RED had just come out with its 6K DRAGON camera, so we could come close to true planetarium resolution. Once we had the camera, though, we had another problem: we needed a system that could handle editing our footage. At 6K resolution and 60 fps, we were looking at an extraordinary amount of data—about 8 GB per minute—in RAW format. We did a lot of research into the subject, and we finally figured out that the only setup around that could handle the load was Adobe Premiere Pro CC running on the fastest HP Z Workstation available.

Adobe: What is special about Adobe Premiere Pro CC?
Bird: Adobe Premiere Pro CC has the best playback engine of any non-linear editor on the market, even for video that is notoriously difficult to play back in real time. Premiere Pro doesn’t care where video comes from; it just plays it, no transcoding required. Being able to cut out the transcoding process is a huge time saver. And Adobe makes the transition from Final Cut Pro so easy (for those of us that have been using FCP for years). I was up editing on Premiere Pro in a couple of hours.


Bird editing underwater footage on his HP Z workstation using Adobe Premiere Pro CC

Adobe: How was the switch from a Mac to a PC?
Bird: I’ve always loved working with Macs. But when we decided to move away from Final Cut Pro, we realized that we didn’t have to stick with Macs anymore. We decided to switch to the fastest computer we could find, which turned out to be the HP Z Workstation. We did a rendering test to compare the speeds, and an Adobe After Effects project that took 12 hours to render on the Mac took two hours on the HP system.

There are probably lots of people in the same boat as me—people who want the power of a PC but are uncomfortable with Windows. Creative Cloud is great because the software is exactly the same across platforms. I can even move files between the Mac and Windows environments without any problems. I also like how all of the software we use, like Premiere Pro, Photoshop, Encore, and After Effects, share similar interfaces and operations. It makes it easy to pick up new software.

Adobe: What’s next for you?
Bird: We started shooting with NASA in May and we’ll be delivering it to theaters in January. We’re also continuing with Jonathan Bird’s Blue World, and our YouTube audience continues to grow. We recently launched Shark Academy on YouTube, which features two to three minute shark videos that kids really like. Another focus for us is to put out highlights from some of our videos that are more shareable. Overall, we want to continue telling great stories for audiences of all ages.

Read more about Jonathan and his work here


Posted by: Adam Spiel on Aug 13, 2014 at 5:05:33 pm Creative Cloud, Customers

Capturing the pulse of the capital

Video production company wins clients with outstanding time-lapse photography and videos developed using Adobe Creative Cloud

Over the course of 12 years, Drew Geraci’s has gone from being a photographer’s mate on a U.S. Navy aircraft carrier to a sought-after time-lapse photographer and videographer. After leaving the U.S. Navy, Geraci worked as a multimedia producer for the Washington Times before his amazing time-lapse photography was discovered by Academy Award nominated director David Fincher. A year later, Geraci’s work was being featured in the opening sequence of the award-winning Netflix series House of Cards, which led to jobs from big name clients including PBS, Corona, ESPN, and the National Football League. Along with fellow Navy alumnus Arthur Breese, Geraci founded District 7 Media, a fast-growing video production company that specializes in time-lapse photography.



Adobe: How did you get started as a photographer and videographer?
Geraci: I really fell in love with photography during high school. After I graduated, I figured I could go straight to college or join the military. I joined the U.S. Navy as a photographer’s mate, and it was the best choice I could have made. I spent nearly five years on an aircraft carrier before attending Syracuse University for broadcast journalism.



I finished out my enlistment producing and disseminating video for the military—first from a little island in the Indian Ocean, and then from Defense Media Activity in Washington, D.C. My time in the Navy really helped me grow as a storyteller. I started out as a photographer, but I learned to work with video, audio, and motion graphics—whatever I needed to tell my story.



Adobe: What did you do after you left the Navy?
Geraci: After I left the military, I stayed in D.C. to work for the Washington Times, where I was able to tell stories that I wanted to tell, the way I wanted to tell them with different types of media. During that time, I never stopped working on my own projects. One particular video was an experiment I shot around D.C. that combined time-lapse photography with high-dynamic-range imagery. I threw the video up on Vimeo and it got more than 50,000 hits, so I was pretty happy.



Adobe: What led you to pursue time-lapse work full time?
Geraci: A few months after I posted the video, I got a call from Netflix. The next thing I knew, I was having lunch with David Fincher at Union Station. He told me that he was working on a new project and he wanted me to do some time-lapse photography of the “dark and gritty” side of D.C. He didn’t tell me anything about the show but of course I said yes—it’s David Fincher!

I hired an assistant and for the next eight months we went out shooting time-lapse content and then handed it off to a production house. I found out three months later that the footage was being used for the opening sequence of House of Cards.

Adobe: How did House of Cards change things?
Geraci: Everything exploded. Suddenly I was getting calls from all over: Corona, Coach, PBS’s Frontline, Discovery Channel, and even the NFL. I started my own company, District 7 Media, and we’re growing every day. We still specialize in time-lapse photography, but we do full video production as well. It’s amazing how much things have changed, and it all started from one little video.

That’s the power of social media, really. It’s so important for artists to get their work out there. It doesn’t matter if a million people are watching or just a few hundred. All that matters is that the one right person sees it.

Adobe: What is the process for your time-lapse photography?
Geraci: Depending on the scope, we may shoot up to 4,000 images per day for a project. The first step is color and exposure correction in Lightroom. The ability to save and apply the same settings to all the images using Lightroom is a lifesaver. It really helps us streamline processes while ensuring consistent metadata, exposure, and color temperature for the final video.



We export all the frames into After Effects, which is where we composite all the images and adjust the speed and movement to get the final take. Sometimes, we use Dynamic Link with Premiere Pro to create proxies and streamline the editing process even further. The integration between apps within Creative Cloud is really key for us, since it allows us to switch between programs without losing quality and work much more efficiently.

Adobe: Have you always worked with Adobe products?
Geraci: I started out with Adobe Photoshop back in high school. During my time in the Navy, I became familiar with all of the other Adobe creative software as well. Adobe Creative Suite really blew me away. Animation always sounded so difficult, but After Effects made it seem so easy. Premiere Pro also ignited my passion for video. Manipulating clips on the timeline is incredibly simple, but the features are much more versatile and robust compared to other software that I’ve worked with.



At District 7 Media, we mainly use Lightroom and After Effects for our time-lapse photography, but we also work with Premiere Pro, Photoshop, Illustrator, Dreamweaver, SpeedGrade, and Bridge. The ability to easily migrate data between systems through Adobe Creative Cloud makes sharing files and collaborating on projects a snap. With Creative Cloud the software is more integrated than ever, so we can get the most out of the functionality.

Adobe: What are some of the other projects you’ve worked on with District 7 Media?
Geraci: We did an amazing project with Corona called Luna Corona, which just won a Golden Lion at the 2014 Cannes Lions. Corona set up a billboard in Manhattan, and if you got the perfect angle, the moon dipped into the bottle like a wedge of lime. We had to work with mathematicians and astronomers to get it the angles just right. That project involved the time-lapse photography plus documentation, which Corona used as an advertisement. Another company bid for the job, but since we’re able to operate so efficiently, we were able to produce a higher quality project for less.

We’re also very involved with the NFL. We produce the time-lapse content for the Super Bowl XLVII and Super Bowl XLVIII videos. The Super Bowl in New Orleans was particularly memorable. The video combined time-lapse and high-speed photography to really tell the story of the city and get the audience pumped for the upcoming game.

Adobe: Did your experiences in the military shape your creative experiences?
Geraci: One of the great things you learn in the military is leadership—how to take control of new situations. Not only did it really prepare me to set up my own business, but it helped me learn how to express myself and give my stories clear direction.



Adobe: Where do you see your business going in the future?
Geraci: We’ve started expanding into stock footage. We’ll be producing and providing incredibly unique content that people won’t be able to find at any other agency, including time-lapse and high-speed photography. We’re also looking to get more into feature film and documentary storytelling. Time-lapse may be our specialty, but we’re all excited to keep growing and opening ourselves to new challenges.

Download a free trial of Adobe Creative Cloud


Posted by: Adam Spiel on Jul 17, 2014 at 10:54:25 am Creative Cloud, Customers

Top-flight videos fuel the JetBlue brand

Airline’s in-house video team uses Adobe Creative Cloud to tell stories that engage and inspire crewmembers and customers

JetBlue Airways began flying in 2000 with a promise “to bring humanity back to air travel.” That commitment is the backbone of the airline’s external brand, as well as its internal culture; JetBlue’s workers are “crewmembers,” whether they’re based on the ground, in the sky, or at the offices.

In 2014, for the tenth consecutive year, JetBlue received the highest honors in airline customer satisfaction among low-cost carriers in the J.D. Power North America Airline Satisfaction Study. A technological innovator from inception, JetBlue maintains and builds on its rapport with customers and crewmembers through a steady stream of story-driven videos. Jonathan Weitz is the manager of digital and online communications for JetBlue Airways, and he approaches his work with enthusiasm.



Adobe: Tell us about your background.
Weitz: I started my career in broadcast journalism, working as a camera operator and video editor in local affiliate television. After seven years, I wanted to move into a reporter/producer role. Unfortunately, I looked too young for broadcast television. I went into radio, working my way up from weekend host to morning show co-host and executive producer. But my heart was in visual media, so I went back to school to get my master’s degree.

Graduate school led to my current career in digital and online strategy. I orchestrated the digital strategy at Pratt Institute, an art and design school. As a freelancer, I worked on video projects for commercial companies and for nonprofits like the Coalition for the Homeless, United Nations Foundation, and the 92nd Street Y.

Adobe: What led to your position at JetBlue?
Weitz: I’m a huge aviation geek; I even got my pilot’s license. When I heard that JetBlue was looking for a person to lead video projects, I jumped at the opportunity.



Jonathan Weitz

I’ve been here since July 2013. There are three of us on the video team and we produce approximately eight videos a month. It’s about 50/50 internal and external content. When I first started, entire projects were hired out, often at great expense. Now we do the majority of the work in-house but we also rely on a trusted list of New York-based freelancers to edit or shoot a project.

Adobe: Is there an overarching approach to content?
Weitz: JetBlue has a very strong external brand because of our culture, our crewmembers, and our values. We look at storytelling through lens of our crewmembers. What stories can we tell to engage, activate, and inspire them? For example, we recently produced a video tied to our new service to Detroit. Whenever we add a destination, we do something special to give back to that community.







In Detroit, we partnered with First Book, a nonprofit that provides new books to children in need. On our first day, JetBlue executives and crewmembers went to a grade school that had the poorest performance record in the state of Michigan for 2012/2013; its library was virtually empty. We donated brand new books and laptops, and students got their own books to take home.

We made that video for our crewmembers. A video like that makes people within JetBlue feel good about where they work, and encourages them to find their own ways to give back. JetBlue is in 87 different cities; showcasing these stories strengthen internal culture. That’s why JetBlue is the company it is.

Adobe: Is there crossover between internal and external videos?
Weitz: We consider repurposing potential with every video request. A lot of internal videos go external, including the Detroit video. We may edit an internal video to better address an external audience but the more longevity a video has, the better the return for us. All external, customer-facing videos go on YouTube and Vimeo, and are posted separately on our Facebook page. We use Vimeo for internal JetBlue videos, privacy-restricted to our Intranet site.

In June 2014 JetBlue introduced Mint, its refreshing new take on a premium coast-to-coast experience. We wanted a way to get crewmembers excited about Mint’s fully-flat seats, fresh dining options, and revitalizing amenities. We created a video series titled (Mint)roducing to highlight our partners and provide a bit of personal insight into the founders and vision behind each company.


Filming Mint(roducing)

To date, we’ve created a video for



, Mah-Ze-Dahr Bakery, Flying Food Group, and Saxon + Parole, with more to come. This is an ongoing series that will continuously live on and grow as we grow. The series certainly has crossover. It gives insight to our customers on what to expect onboard. It also gives crewmembers knowledge on the products and little gems of information that they can use when interacting with each other and our customers.

Adobe: Have you always worked with Adobe Premiere Pro?
Weitz: Earlier in my career I used Final Cut Pro a lot. After graduate school, I worked on a freelance project for Dell. The footage had been shot on RED, and I knew transcoding would take forever. That’s when I tried Premiere Pro for the first time. I’ve never looked back.


Filming Dell project

We use Premiere Pro for all video editing and Adobe proficiency is part of every discussion I have with freelancers. In fact, we have a template project folder setup—with an organized folder structure, project files, fonts, and style guides— so that our freelancers can spend less time on mechanics and more time on creativity all while keeping our videos consistent.


Template folder structure - open

Adobe: Are you using other applications in Creative Cloud?
Weitz: Creative Cloud is great because it covers the entire spectrum of our creative departments. We use After Effects for all lower thirds, title cards, and graphics. We can create project files in After Effects and easily transfer them into Premiere Pro; there’s no need to import or export anything.


Adobe After Effects template - lower third

Creative Cloud is also a boon to our work with JetBlue’s design and brand team that creates the visual brand of JetBlue, everything from signage and seatback cards to the paint scheme of the airplanes. We’ll send the designers footage when we’re working on a video; they’ll, create an asset in Photoshop, send us the file, and everything is updated automatically. We finish projects very quickly and we all work well together because everyone is one the same platform.

Adobe: Are there particular features or individual products in Creative Cloud that you like, or that help with deadlines?
Weitz: It used to be that you installed software from CDs and DVDs, and you had to wait for the next version to fix any bugs. With Creative Cloud we’re always working with the latest versions of a product. We have immediate access to anything that’s new, be it a feature or a fix, which is critical.

We spend a lot of time in Premiere Pro and the layout and user interface are elegant and easy to use. Adobe really understands what filmmakers and storytellers need to best do their jobs. The integration among app in Creative Cloud is terrific. We can be working in Premiere Pro and easily open an audio track or music track in Adobe Audition to clean up the sound, or jump to After Effects to add graphics.

Adobe: How did you create the “Thank you” video?
Weitz: We were ecstatic when we learned the results of the J.D. Power survey. We’re nothing without our customers and crewmembers, and we wanted to make a video to recognize the people who made this honor possible.







Whenever I visit a historic building, I think about what it must have been like at its peak. I began picturing an airport terminal that was deserted, but had clearly once been alive and thriving. “Thank you” juxtaposes empty spaces in a terminal against the audio hustle and bustle of a busy airport. When we scouted the airport to figure out our shots we also recorded the sounds that help tell the story: a baggage carousel turning; people talking; a gate announcement; the boarding call; the inflight crew welcoming people. The video came out exactly as we wanted: a heartfelt thank you to customers and crewmembers who bring this airline to life.

See more JetBlue videos on YouTube

Follow Jonathan on Twitter: @weitzjonathan

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Posted by: Adam Spiel on Jul 15, 2014 at 11:53:27 am Creative Cloud, Customers

Once in a lifetime experience in Brazil

As a senior engineering manager at Adobe, I’ve been very lucky to visit broadcasters, post houses, and other customers all around the world. I really appreciate learning about how customers use our products and what types of content they produce. Getting to know the people and the cultures during these trips is always my favorite part.

Recently, I had the opportunity to travel to Brazil for that big international soccer (of course I mean football) event that just concluded. Adobe Premiere Pro CC was selected as the editing platform for the event, so we put together a team to go on site at the IBC (International Broadcast Centre) to learn from the workflow and the editors. Learning about how they build the production and how the people setup for such a huge event was very interesting.




I could tell from the moment I landed that the people in Brazil were excited about the event, everyone was obviously soccer crazed! The IBC was like nothing I have ever seen. I have been to broadcast networks around the world but this was very different. It was a huge presence that took over an entire convention center with three halls filled with broadcast networks and equipment.

It was all setup just for the event and everyone was working together to make it a success. Many people moved to Brazil for months at a time to bring the event to life, which was something I hadn’t realized. I enjoyed talking with the editors about other worldwide sporting events they’ve been involved with in similar ways.



To support all of the people working there, the IBC had restaurants, laundry services, drug stores, and even an ice cream shop. There were buses all organized to take you from the IBC to wherever you wanted to go. It was definitely an amazing logistical effort. Of course there were TV screens all over the IBC showing every game that was on, including an 8K TV from NHK Japan.

From a broadcast perspective, it was impressive to see how many games and how many feeds per game were being captured. There was so much video available on a daily basis. The production team not only covered all of the games but also produced player profiles, supplemental content from around Brazil, as well as a range of graphics. The amount of content was enormous. And then they turned around the spots in mere hours with all that content and it looked amazing. All of the people working on the project were so talented and productive.



Of course, it was also great to see the editors working with Adobe Creative Cloud applications, from Adobe Premiere Pro CC and After Effects CC to Audition CC and even SpeedGrade CC to get the creative looks they wanted. It was essential that we supported growing files, especially AVCi100. This was the quality they wanted and it is a very demanding format. Over the past year, we worked very hard to optimize AVCi100 so it would be a fluid editing experience for the project and it was great to see our hard work pay off.

Many of the editors work with Avid and Final Cut Pro, and they really appreciated the high performance and stability that Premiere Pro offered. They loved learning about the keyboard shortcuts and streamlined editing tools, and commented on how easy it was to focus on being creative without the software getting in the way.



The editors also seemed to really appreciate the native workflows supported through Premiere Pro CC. No matter what the producer or other content providers gave them, they were able to drop it on the timeline and start working. This was different than past years when they first needed to ingest that media and wait. Integration among the applications was also something they really loved. After Effects was heavily used and the ability to start in Premiere Pro and Dynamic Link to After Effects saved them a lot of time.



Members of the Premiere Pro team were in Brazil to make sure the use of Premiere Pro CC was successful and that we secured valuable feedback that we can use to make the product better. But it was hard not to get caught up in the excitement of the event. I lived in Germany for about six years so I learned to enjoy watching football and the fans during the 2002 games. In Brazil, we watched almost every game at the IBC, as they were on every screen, but it didn’t compare to when I got the opportunity to attend the Chile vs. Spain game.




The stadium was amazing and the organization of the whole event was perfect. The fans were all very happy and cheered for the entire 90 minute game. They were overwhelmingly rooting for Chile, which worked out as they won. It was my first time going to a live game and the energy at the football stadium is not comparable. It was much more emotional and louder than I expected after only going to U.S. sporting events. The game was great and really topped off the Rio experience. It made me appreciate why people around the world love the sport.




The overall feeling in Brazil was great and the people were very friendly. Everywhere you went you could feel football was in the air. Going to the beach in Copacabana, which I didn’t have much time for, was quite an experience. There were so many people from all around the world. The whole beach was set up to celebrate with large screens everywhere. I even had a few caipirinhas at the beach until sunrise with some of the team, which was lots of fun.

Download a free trial of Adobe Creative Cloud

David McGavran is the Senior Engineering Manager for Adobe Premiere Pro. He has been at Adobe longer than he can remember. Dave has worked on many of the video apps at Adobe and is known for his work on Dynamic Link.Unfortunately, as an engineer, Dave isn't clever enough to write a funny bio so this will have to do.


Posted by: Adam Spiel on Jul 14, 2014 at 3:44:50 pmComments (1) Creative Cloud

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