{"id":82572,"date":"2016-10-10T11:18:00","date_gmt":"2016-10-10T16:18:00","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=82572"},"modified":"2016-10-18T15:07:34","modified_gmt":"2016-10-18T20:07:34","slug":"insights-from-adobe-video-world-2016","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/insights-from-adobe-video-world-2016\/","title":{"rendered":"The Future of Creative Cloud: Insights from Adobe Video World 2016"},"content":{"rendered":"

Adobe gets it. We talk to the creative team behind the Creative Cloud at Adobe Video World 2016.<\/h2>\n

We aren\u2019t far removed from the decision to combine After Effects World<\/strong> and Premiere Pro World<\/strong> \u2014 as the whole industry continues to shift to a single person needing to know how to do everything themselves. <\/span>That\u2019s a struggle Adobe understands. <\/b><\/p>\n

At the 2016 <\/span>Adobe Video World<\/span><\/a>, we heard all about the future of <\/span>Premiere Pro<\/span><\/a>, <\/span>Audition<\/span><\/a>, <\/span>After Effects<\/span><\/a>, and even <\/span>Media Encoder<\/span><\/a>. Not only were there video editors and motion graphics artists on hand teaching courses, the actual <\/span>programmers who built these programs were there to talk about new workflow solutions. <\/b><\/p>\n

PremiumBeat had the chance to sit and talk with <\/b>Steve Forde<\/b><\/a>, Adobe\u2019s Group Product Manager of Video and Audio Products.<\/b> That\u2019s a long job title, but it barely scratches the surface of what Forde actually does. He’s\u00a0in charge of Premiere Pro, After Effects, Audition, Media Encoder, and more. Essentially half of the Creative Cloud.<\/span>\"TheImage: Al Mooney on Premiere Pro at Adobe Video World 2016 via Michael Maher \/ PremiumBeat<\/em><\/p>\n

We also heard from a variety of Adobe team members. <\/span>Al Mooney<\/a>\u00a0(<\/span>Senior Product Manager of Professional Video Editing) talked about <\/span>Premiere Pro\u2019s 25th anniversary and the future of the NLE<\/b>. <\/span>David Simons<\/span><\/a> and <\/span>Daniel Wilk<\/span><\/a> talked about <\/span>how they created After Effects <\/b>and are now hard at work<\/span> bringing Character Animator to Adobe CC<\/b>. We also heard from an entire panel of Adobe programmers and directors, including <\/span>Alissa Johnson<\/span><\/a> \u2014\u00a0who<\/span> told us about Adobe Anywhere and the future of Team Projects in the Creative Cloud. <\/b><\/p>\n

Author\u2019s Note:<\/i><\/b> Before continuing into the interview and speeches, I must admit that attendees of Adobe Video World were treated to several future updates and plans for the Creative Cloud. Many of which were quite impressive. As we all signed an NDA, I\u2019m only allowed to talk about things for which I have clearance. So if you’re looking for some type of breaking news, you aren\u2019t going to get it here. However, you are going to learn much more about updates that have been released\u00a0and announced, including Team Projects, updates to the Lumetri panel, and some news on Character Animator. <\/span><\/i><\/p>\n

\n

Building a Creative Cloud for the Video Creators of the Future<\/span><\/h3>\n

\"The
\nImage via Shutterstock<\/a><\/em><\/p>\n

It should come as no surprise that we are at a high-point in the world of video production.<\/strong> There is more content produced now than ever before. Film, broadcast television, cable, web, mobile, social media \u2014\u00a0and plenty of overlap between each. <\/span><\/p>\n

There’s never been a better time to create video. If companies aren’t communicating with video, they’re not communicating.<\/span><\/p><\/blockquote>\n

That\u2019s what Adobe\u2019s Steve Forde told attendees at the 2016 Adobe Video World<\/strong>, and he\u2019s absolutely right. From international companies to your local coffee shop, everyone is producing content to get you into their stores. And if they aren\u2019t getting you into the stores, they are creating brand recognition that you can\u2019t mistake with others. There is reason every <\/span>Target<\/span><\/a> commercial looks like a Target commercial. It\u2019s why local restaurants snap photos and videos of their daily special. Video content drives sales.<\/a><\/span><\/p>\n

\"The
\nImage via Shutterstock<\/a><\/em><\/p>\n

Today, it\u2019s not enough to just produce a video. In fact, if you are working on a major campaign \u2014\u00a0there will be several iterations based on the platform it\u2019s delivered. From <\/span>15 to 60-second commercials<\/a> to <\/span>Instagram video campaigns<\/a>, nearly every video targets every demographic based on the platform they use. Premiere Pro has built-in publishing tools for social media<\/a> for this very reason.\u00a0<\/span><\/p>\n

That\u2019s why Adobe Creative Cloud has constantly redeveloped itself over the years. Forde understands that <\/span>the video editor of today is a very different person than one just years ago.<\/b> Today, editors are expected to know how to edit, work with audio, color grade, design their own graphics, and more. That\u2019s why you\u2019ve seen <\/span>so many new tools introduced into Premiere Pro<\/b>, like the Lumetri color panel. <\/span><\/p>\n

The video and audio <\/span>teams at Adobe know that editors have tighter deadlines and more responsibilities<\/b>, which is why the company continues to roll out features for the all-in-one editor. <\/span><\/p>\n

Perhaps your editing is strong, but your motion design is limited. That\u2019s why Adobe introduced <\/span>Live Text templates<\/b>, giving editors the power to edit After Effects content in Premiere Pro<\/a>. Have a motion graphics artist that can design great titles and lower thirds, but can\u2019t get to revisions as fast as you need? That\u2019s exactly why Live Text templates allow you to correct misspellings or job titles on the fly.<\/span><\/p>\n

The Creative Cloud<\/strong> is seeing a shift toward collaborative workflows, allowing multiple users to work on the same project at once or easily transfer project files between programs. <\/span><\/p>\n

\n

The Creative Cloud Takes on Hollywood<\/span><\/h3>\n

Many of the latest updates coming to the Creative Cloud were requested and tested while Adobe was partnering with major studios on AAA Hollywood titles. The first major feature fully edited in Premiere Pro was <\/span>David Fincher<\/span><\/a>\u2019s 2014 drama <\/span>Gone Girl<\/span><\/i><\/a>.<\/span><\/p>\n

\"TheImage: Assistant Editor Tyler Nelson cutting Gone Girl via Adobe<\/a><\/em><\/p>\n

Gone Girl <\/span><\/i>was shot in 6K on RED cameras to be finished in 5K. The studio used proxies to edit the project \u2014 even though the proxies were still in 2.5K. Realistically, many of our readers may be fortunate enough to shoot in 4K to edit with proxies in 1080p. <\/span><\/p>\n

Premiere Pro was really pushed on <\/span>Gone Girl<\/span><\/i>, as the NLE had to hold up to the level of perfection Fincher requires in his edits \u2014\u00a0as he often combines multiple takes to get the best performance from each actor on camera. A majority of the film had some type of VFX in each shot, and the team at <\/span>Adobe had to create a system that sent live updates from After Effects to Premiere Pro<\/b>. (<\/span>You can read more about the Gone Girl<\/em> workflow in the piece from Adobe<\/span><\/a>.)<\/span><\/p>\n

We want to be successful in Hollywood. \u2014 Al Mooney, Premiere Pro Senior Product Manager<\/p><\/blockquote>\n

\"TheImage: Editing Hail, Caesar! via Adobe \/ Universal Studios<\/a><\/em><\/p>\n

Following the success of <\/span>Gone Girl<\/span><\/i>, plenty of <\/span>other filmmakers turned to Premiere Pro<\/b> \u2014\u00a0like legendary director duo, the Coen brothers. (<\/span>If you\u2019re working on developing a platform for team collaborations, no better way than to put your programs to the test with a real tag team.)<\/span> The Premiere Pro team had their work cut out for them, having to figure out the best way to share a project between <\/span>Joel<\/span><\/a> and <\/span>Ethan Coen<\/span><\/a>. One pulled the best footage and the other cut a version of the film <\/span>Hail, Caesar!<\/span><\/i><\/a><\/p>\n

Joel and Ethan are known for their process, which includes not cutting any dailies. The entire film is cut after shooting, something that is very rare in filmmaking. Ethan does the assembly, finds the good takes, then rings a bell when he gets to a point in the scene when you can start editing. Joel then picks up the content and cuts it in. \u2014\u00a0<\/span>Editor Katharine McQuerrey<\/a><\/span><\/p><\/blockquote>\n

At the same time, Adobe was also working with very CG-heavy films like <\/span>Pete\u2019s Dragon<\/span><\/i><\/a> and the VFX heavy smash-hit <\/a><\/span>Deadpool<\/span><\/i>. The\u00a0Deadpool<\/i><\/a><\/span>\u00a0workflow was covered plenty here on PremiumBeat<\/a>, including the free presets from the film that were <\/span>made available to users via Vashi Nedomansky<\/span><\/a>.<\/span><\/p>\n