The previous big upgrade from Adobe’s Creative Cloud brought some nice changes and added stability but not a lot to get excited about. The story is totally different with this latest batch of updates being announced and demonstrated at NAB 2015. The name of the game this time seems to be centered around color which, truth be told, was a feature that was lacking in Premiere and After Effects. The early implementation of their Lumetri System wasn’t that useful compared to the plethora of great third party color plugins. But now that’s starting to change.
Key to the latest round of updates is the much improved color capabilities of Premiere. I’m a big fan of Lightroom – adjusting temperature, highlight, shadow and vibrance sliders are incredibly quick and intuitive way of dialing in color. Many have asked why that system hasn’t been implemented inside Premiere… well now it has. But how do you know if colors you’re adjusting are correct? Well that’s where scopes come in and those are getting a much needed facelift.
But color isn’t just relegated to what exists on the desktop. The world is full of color and Adobe is trying to make it easier to capture pleasing color palettes with their new mobile app Project Candy. See a cool color palette on a store front sign? Capture it with your phone, identify the colors and you can even translate that into your productions inside the Creative Cloud.
Color isn’t the only focus of the new versions of Creative Cloud. What could be a god send for documentary filmmakers, Adobe is announcing the Morph Cut which utilizes Adobe’s newly improved face tracking technology to seamlessly transition between pieces of footage. Now this technology isn’t anything terribly new (a similar concept might be the pixel motion tools available in After Effects)- but automating it could potentially save a lot of timely edits. Plus the morph cut tool may have interesting side applications like morphing a series of photos taken over the years.
For 2D animators or people that need quick 2D animation done but never thought it was possible – there’s a new app in the works called Character Animator. Although it won’t be ready until the summer, Adobe will be previewing the product at NAB. Essentially it captures web camera footage and, again using face tracking technology, animates a 2D character including lip sync. Using third party software, you can even animate 2D characters from recorded performances.
We’ll share more of what Adobe has as their demos come online. As a long time Adobe users and an attendee of NAB show for over a decade now, this is one of those years where I’m thrilled not to have to decide whether or not I’ll make the upgrade – all these new features are included in the subscription!
I’ve covered the major upgrades coming to Creative Cloud but there’s more in store including higher integration between products and the Creative Cloud Libraries, Audio capabilities in Prelude and improved Previews in After Effects. Check out their Press Release on What’s New in Video for CC
Come along for a tour of the “Archer” production offices, courtesy of series creator Adam Reed.
FX’s “Archer” — one of the most anarchic and foul-mouthed animated cable series ever made — gets made in a mall. Pop music blasts from speakers set into the ground outside; a multiplex is a stone’s throw away.
You enter the world of “Archer” through an unmarked door; the first floor entrance also serves as a photo studio for the show’s many random needs for reference images; there are racks of costumes and shelves of props on hand for use. (The overwhelming balance of props needed were various types of guns or various conveyance devices for alcohol.)
I got the opportunity to visit “Archer’s” home thanks to a confluence of festivals: I’d interviewed creator Adam Reed at the Vancouver International Film Festival last fall, and in early February was in Atlanta, Georgia for a separate event. It wasn’t a long walk from my hotel to the mall, I had a few hours free and Atlanta in the winter is pretty tolerable (even if you’re from LA). So I arrived just in time for pizza and a screening of the most recently-completed episode.
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Watch this journey through the history of the MGM logo.
Your eyes don’t always capture the world exactly as a video camera would. But the eyes are remarkably efficient organs, the result of hundreds of millions of years of coevolution with our brains. Michael Mauser outlines the similarities and differences between your eye and a video camera.