Adobe at NAB 2016: Rounding up the latest video app updates

Adobe at NAB 2016: Rounding up the latest video app updates

Missed NAB 2016? If so, you may have missed Adobe’s announcement about upcoming updates to their core Creative Cloud for teams (CCT) video apps. So we’ve picked out the highlights below. And remember, existing CCT users will get the updates for free as soon as they are released…

The next Adobe Creative Cloud release will be available in early Summer and will bring with it, Adobe say, faster than ever media ingest and editing workflows in Premiere Pro CC and Media Encoder CC. There will be new VR Video capabilities in Premiere Pro, including field of view mode for spherical stitched media, and a new Essential Sound panel in Audition CC which they’re hoping will revolutionise the way you mix and edit audio projects. After Effects will also become more responsive, and there will be the usual performance and stability enhancements across all the Adobe video and audio applications.

While the announcement will be most relevant to users working with the core video apps, such as video editors and VFX artists, it’s handy to know that as an existing Creative Cloud user, you’ll have access to all these updates for free as part of your subscription.

The all-new Adobe video app features

Here are the features Adobe have picked as highlights of the upcoming summer release:

Editing immediately during ingest allows Premiere Pro CC users to get straight to work while importing their video and audio files in the background, and switch between native and proxy formats freely when using multiple devices. With initial support for Apple Metal and H.264 hardware decoding (Windows Intel Iris only).

Powerful proxy workflows in Premiere Pro CC and Adobe Media Encoder CC help editors work with heavy 8K, HDR and HFR media even on lightweight machines like laptops. Editors can work natively with high-resolution formats up to 8K – such as RED Weapon – or with a new workflow that creates lightweight proxies at ingest.

Enhanced Lumetri Color tools within Premiere Pro CC adds HSL Secondaries. This will help expand editors’ toolkit, making colour correction and adjustment easier for all filmmakers.

Performance improvements, like the new video and audio preview architecture in After Effects CC, deliver superior playback of cached frames for a smooth experience. You see overall efficiency improvements when interacting with the application while GPU-accelerated effects deliver faster rendering results.

Cinema 4D Exporter Improvements allow you to transition a project from After Effects CC to Maxon Cinema 4D with new export options. Animated 3D text and shape layers can now be saved directly into the Cinema 4D file format. Add depth and customisations to your text and shapes in Cinema 4D and changes are automatically updated in After Effects for a roundtrip 3D motion graphics workflow.

Easier and more efficient Character Animator includes a simplified puppet creation process that enables users to easily tag puppet layers and record multiple takes of a character’s movement. Users can animate puppets to respond to motion and trigger animation accordingly.

The new Essential Sound panel in Audition CC enables novices to mix audio content with professional results in a single panel. Modeled after the Lumetri Color panel in Premiere Pro, the Essential Sound panel provides simple controls to unify volume levels, repair sound, improve clarity, and help your video projects sound like they were mixed by an audio engineer.

Also new in Audition, Direct Export with Adobe Media Encoder enables you to export video projects with finished audio directly with Adobe Media Encoder, saving the trip back to Premiere Pro. All formats and presets are available, including formats which support re-wrap to minimise re-encoding video. Get full control over audio channel streams for multichannel audio formats, such as MXF, ensuring compatibility with your workflows and standards.

Quickly find Adobe Stock assets with new filtered search in Creative Cloud Libraries. Licensed assets in your library are now badged for easy identification, videos are displayed with duration and format information, and saved videos are linked to video previews on the Adobe Stock site. Adobe Stock will have enhanced connections with CC apps and new workflows to enable Adobe Bridge and Lightroom users to contribute to the Adobe Stock marketplace directly from within the application.

Want to know more about Adobe Creative Cloud for teams? Pop your details in the form below, give us a call on 03332 409 251 or email sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

NAB 2016: Premiere Pro and FCP X add support for Tangent panels

As well as announcing availability of their long-awaited Ripple panel, Tangent Devices have revealed that Adobe Premiere Pro and Apple Final Cut Pro X now sport improved Tangent integration. 

“Adobe announced that they’re including support of our panels in the next release of Premier Pro. They have also implemented full support of our Mapper application, so you’ll be able to customise the layout of the controls on the panels. This is really exciting news for us and we’ve been looking forward to this as it’s been the source of a lot of requests from users,” said Tangent’s spokesperson. (You can see the Adobe announcement here).

Tangent also announced that support for FCP X’s Color Finale plug-in. “We already have pretty much full control of FCP X with our panels thanks to the efforts of Sam Mestman and his extensive use of our Mapper. Now the guys at Color Grading Central have announced full support of our panels in their Color Finale plug-in for FCP X. With Support for the Mapper included, you can customise your control layouts. We’re excited to see this expansion for the support of our panels within FCP X and we’re looking forward to the release of this new version. You can read more about Color Finale here.”

For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2016: New axle Pulse turns audiences into contributors

NAB 2016: New axle Pulse turns audiences into contributors

Today axle Video announced the first-ever integrated solution for news organisations and brands to gather and stream video directly from their audiences.

axle Pulse is a new mobile app that lets broadcasters and brands source immediate, authentic content; their communities are empowered with an easy way to capture and share video footage from their smartphones. The system is available either as a complete software/hardware solution for purchase, or as a monthly cloud subscription. It includes branded apps for iPhones and Android smartphones, and lets contributors sign up, shoot and upload video. The users can also join a dialogue with the broadcaster or corporate media department which can include requests to capture specific material in exchange for compensation. For breaking news stories, a livestreaming mode is available which turns the smartphone into an immediate on-location asset for news organizations.

axle Pulse

The axle Pulse system combines an easy-to-use mobile app and a powerful media management back end, based on axle’s radically simple axle Gear software. The solution works as follows:

– The company operating the software can request footage from contributors in their audience, optionally with specific assignments.
– Contributors capture and upload video footage in response to assignments, with any compensation predetermined.
– A built-in search tool lets the broadcaster quickly tag, curate and subclip submitted videos.

In the case of breaking news or live events, streaming from one or more contributors can be enabled for direct feeds.

Axle Pulse is based in part on pioneering mobile software called VidLasso, which axle Video has acquired and adapted for use in the new system. Christy King, a cofounder of VidLasso, who has joined axle as an advisor, said “I am delighted to see VidLasso grow up to become axle Pulse. The axle software team has expanded our original feature set in smart ways for news organizations and brands to harness the power of mobile video capture and streaming. axle is the leader in affordable media management, with great customers in the broadcast and corporate markets, and I’m thrilled to see axle Video build on our mobile capture technology, and make it even easier to gather and organize user generated content.”

The system includes axle Gear media management back end technology that gives permissionbased browser access to all uploaded content, as well as postproduction features like the ability to select and approve footage for use on air or on a website. When integrated with affordable networked storage and playout options from axle Video’s partners, axle Pulse can form the core of a next-generation media operation at a small fraction of the cost of traditional broadcast infrastructure.

 

 

Pricing and availability

axle Pulse is available now for complete on-site system deployment; after June 1 as a monthly cloud subscription. Both approaches include branded iPhone and Android mobile apps, as well as all required back end infrastructure for managing submitted video content and (with the streaming option enabled) live streams. Contact axle Video for details. axle 2016 software is available now starting at $995 for two users.

For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

NAB 2016: Avid announce Adobe Premiere integration with Interplay Media Central

Avid today have announced and demonstrated a huge move toward making their production asset management system, Interplay Media Central, the open arena they have talked about for a number of years now.

 

Adobe Premire Pro now has direct integration with the Media Central platform directly in the application.

Editors can now search for sequences, assets and more that are checked into Interplay via a custom pane in Premiere Pro.

We’ll be checking this out in more detail over the next few days and will report back with more info.

For more information on our avid solutions visit Jigsaw24.com/avid or email broadcast@jigsaw24.com. For more on the latest NAB Show releases, take a look at our roundup post, give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

 

 

5 of the most useful new features in Adobe Premiere Pro CC

5 of the most useful new features in Adobe Premiere Pro CC

We recently had Nottingham Trent media student Max Shore completing a placement at Jigsaw24. While he was here, we asked him to take a look at the new features of Premiere Pro CC, and pick out his favourites…

Among the host of updates Adobe have made to the Creative Cloud video applications, the ones for Adobe Premiere Pro deserve some special attention. Here are five that we have found to be very useful for accelerating your workflow and increasing productivity.

1. Task oriented workspaces

Adobe have added to Workspaces, allowing you to view, access and organise the tools you want, how and when you want them. The update allows you to toggle between preset and custom workspace layouts that configure interface panels and tools for the different parts of your workflow, including editing, colour, audio and effects.

Editing (default). Editing is the default workspace and gives a much bigger source monitor that allows more easy access to effect controls, the audio clip mixer and metadata for examining your media.

Assembly. The assembly workspace focuses more on your media content, allowing you to manage content more efficiently and build a basic outline edit. The project panel is larger, and many other panels are hidden.

Colour. The colour workspace gives you easy access to the Lumetri colour panel, and Lumetri ccopes panel, giving you greater control over the look of your video.

Effects. The effects workspace has a larger effects control panel, with direct access to the effects panel. Source monitor is still available but hidden behind the effects pannel.

Audio. The audio workspace allows you ready access to audio tools, like the audio clip mixer and audio track mixer

Metalogging. The metalogging workspace is hidden by default and can be accessed by pressing the two arrows pointing right, next to the ‘audio’ workspace button. This workspace gives you access to the metadata panel and a larger project panel.

2. Lumetri colour panel

Adobe have also added some very impressive colour grading power into Premiere Pro. This update allows editors to manipulate colour and light in ways previously impossible without leaving Premiere Pro. The Lumetri colour panel combines the 32-bit floating point colour science of SpeedGrade CC with Lightroom functionality and ease of use.

With this, we can make simple colour corrections or create and save Adobe ‘Looks’ (exported as a .look file) using familiar sliders and controls. This update, much like many of the other updates for Creative Cloud, is aiming to accelerate workflows and increase productivity.

3. Adobe Stock

Adobe Stock hooks directly into Creative Cloud Libraries. Rather than having to download each individual image to your machine then import into your project, you can simply pick out your images on Adobe Stock and they’ll show up in the library window within the app. Using the new CreativeSync technology, you can edit the image in low-res before buying, then as soon as you purchase the full version, your edits will all be automatically applied – something that’ll help smooth your design workflow and save time.

4. Revert trim session

Revert trim session will undo all trimming done in a trim session. The new ‘revert trim session’ button must be added using the button editor. You can start a new trim session by placing the sequence play head in-between two clips and pressing the T button. This will bring up the multi-camera view and a new row of buttons that allow you to add a default transition between clips as well as trim your clips by one or five frames either way, by default. These buttons can all be customised to suit your editing style. This feature makes experimenting with your project more accessible.

5. Live trimming in trim mode

Find and add the loop button using the button editor, and use I and O to set clip in and out points during loop playback in Trim mode. Similar to multicam editing, this feature gives you the power of adjusting an edit point on the fly without stopping playback. To enter ‘trim mode’, select an edit point using your sequence play head and press T.

Press the spacebar and playback will begin looping on the edit point. Looping is based on the pre-roll and post roll in preferences under the playback tab. The maximum for both pre-roll and post-roll is 60 seconds, but is set at four seconds by default. Once you set a new in or out point, looping playback will reset on the new edit point. If you’re not happy with your trimming, you can use the revert trim session button.

Want to know more? Give us a call on 03332 409 251 or email adobe@Jigsaw24.com. For all the latest news and reviews, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Adobe drop new 2015 Creative Cloud features and updates

Adobe drop new 2015 Creative Cloud features and updates

In what’s become a bit of a yearly tradition, Adobe have unveiled major new 2015 updates for all Creative Cloud desktop apps, including Photoshop, Illustrator, InDesign, Dreamweaver, Lightroom, Premiere Pro, After Effects, and more.

Creative Cloud 2015 also brings new updates to mobile apps, including the brand new Adobe Hue for iOS, as well as new improved libraries and the new Adobe Stock asset marketplace. Of course, if you’ve got an ongoing Creative Cloud membership, all the new stuff comes at no extra cost too. We’ve picked out our top new updates and features below.

 

Desktop apps get a sprinkling of magic

All 15 Adobe Creative Cloud desktop apps get updates in the 2015 release, with Adobe adding what they call their ‘Adobe Magic’. Just some of the new features to look out for include:

Photoshop CC. 2015 sees the introduction of Artboards, an easy way to create and preview multiple layouts of different sizes in one Photoshop document, and Device Preview, so you can check how they’ll look on different devices. An interesting workflow addition is the new Photoshop Design Space interface which lets users create their own tool layouts based on just the tools they need to do their work. Performance-wise, the Healing Brush, Spot Healing Brush and Patch tools have been boosted with Mercury Graphics Engine enhancements, so you get results up to a massive 120 times faster than in CS6.

Lightroom CC. Lightroom, as well as Photoshop, gets a new Dehaze feature which eliminates fog and haze from photos, including underwater shots, for startlingly clear images. Haze can also be added to a photo for artistic effect.

Illustrator CC. Illustrator has also had a speed boost – it’s now ten times faster and ten times more precise than CS6. Thanks to a new Mercury Performance System boost, you can pan, zoom and scroll faster and more smoothly, and zoom into your artwork to create and edit with incredible precision (magnification can now reach up to 64,000% instead of 6400%). A new Chart tool lets users create custom charts and graphics.

InDesign CC. Mercury performance has also come to InDesign, meaning you can now zoom, scroll and page through complex documents twice as fast. Other new enhancements let you place images directly into cells of tables, add colour or shading to paragraphs, and publish and distribute documents with a single click.

Premiere Pro CC. Video users get spoiled with some big new improvements in the 2015 release. The new Lumetri Colour panel simplifies colour workflows with better colour correction tools and intuitive sliders. For editing interviews, the new Morph Cut feature smooths out jump cuts and sound bytes in talking-head shots to create a cohesive, polished sequence.

After Effects CC. New tracking features give you exceptional accuracy by managing the level of detail you track, and simple mask tracking lets you quickly apply effects only to a face, such as selective colour correction or blurring. You can easily animate 2D characters from Illustrator or Photoshop with Character Animator, which tracks your facial movements, records a voiceover and even triggers bodily movement with simple keyboard actions and automated features. Newcomers will also benefit from the new Simplified Preview mode which helps users get to grips with motion graphics and visual effects.

Dreamweaver CC. It’s now easier than ever to create mobile websites in Dreamweaver, with support for responsive design to create production-ready websites that dynamically adapt to various screen sizes. You also have the ability to preview and test websites on multiple devices in realtime. Quickly turn Photoshop comps into code-based designs with Extract, and work more efficiently with Code Editor tools like code completion, built-in validation and site management.

Muse CC. With instant access to premium fonts in Typekit from the Adobe Muse font menu, and the ability to integrate blogs, shopping carts, radio buttons and more using new widgets downloaded from the Library panel, it’s now much faster to create dynamic, engaging web designs.

 

Libraries get Linked Assets

Creative Cloud Libraries has always been a favourite feature of our team, giving easier access to key tools, brushes, colours, fonts and more, in Photoshop and InDesign. Now in the 2015 release, that functionality is extended to more apps, with support for Premiere Pro and After Effects. Adobe have also added support for Linked Assets, which lets you make an amend to an asset and then have that change automatically incorporated within every document or project.

 

Adobe stock up on assets

Adobe Stock is Adobe’s new asset marketplace, home to some 40 million quality images and graphics. It conveniently integrates into CC desktop apps like Adobe Photoshop, Illustrator, InDesign and more, letting you save images to your Creative Cloud Libraries and then access them directly from inside your apps. You can work with watermarked images directly in comps, then when you’re ready to purchase, any edits you made to the watermarked image are magically applied to the purchased full-resolution image via CreativeSync.

You can buy Adobe Stock with new Creative Cloud for teams purchases or simply add it to your existing membership, and we’ll have full pricing and availability soon.

 

New and improved mobile CC apps

The Creative Cloud mobile app lineup keeps getting stronger, with updates to Adobe Comp CC, Photoshop Mix, Photoshop Sketch, Illustrator Draw, Brush CC, Shape CC and Color CC for iPad and iPhone (Shape, Color and Photoshop Mix are also now available for Android).

Adobe have also released new mobile apps Adobe Hue, Preview and Comp which are designed to make it even easier to capture inspiration and create from anywhere. Hue lets you capture colour palettes from photographs to create ‘Looks’ that can be uploaded to your Creative Cloud Library. You can then use these as creative references and to improve video footage in apps like Adobe Premiere Pro, Adobe After Effects, and Adobe Premiere Clip for iOS devices. Adobe Preview CC gives Photoshop CC designers precise, realtime previews of their mobile designs, while you can use Comp CC to draft your layouts using natural drawing gestures.

 

– The 2015 updates to CC desktop and mobile apps are available to download immediately for all Creative Cloud members as part of their membership at no additional cost. If you want to know more about Creative Cloud subscriptions, get in touch on the details below.

Adobe Creative Cloud hub on Jigsaw24

Want to know more about Adobe Creative Cloud for teams? Give us a call on 03332 409 306 or email sales@Jigsaw24.com. For all the latest news, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook.

How our designers made the move to Creative Cloud for teams

How our designers made the move to Creative Cloud for teams

When Adobe announced that their key apps were moving to Creative Cloud and that a new teams option would be available, we decided to sign our in-house design team up straight away. While they were initially nervous, we now have a team of designers who can work remotely, collaborate easily and have developed an unhealthy fascination with InCopy…

Choosing to move to Creative Cloud for teams

As the UK’s largest Adobe reseller, we’re always keen to get our hands on the latest updates so that we know what our customers are dealing with. However, when the design team found our that their beloved copies of Creative Suite were going to be confiscated, they were a little worried.

“At first, I was apprehensive, because it was really an unknown,” explains our design manager Loui Goldsworthy. “Because of the name, I thought it might change how our team works. Would it pull from a server continuously and be slow?” (These worries turned out to be unfounded – our team just needed to download the apps once, then worked locally as they had before, without the need to connect to Adobe’s servers or maintain a constant internet access.)

But the possibility of accessing new features quickly overcame any nerves. “We thought it was the right thing to do – we were excited to move and see the new features we’d get to explore, and we always want to make sure we’re utilising the latest features and using the most efficient workflow,” Loui.

As for the designers themselves, their reactions ranged from excited to nervous to worried that they’d have to pay for their own software – a worry quickly put paid to by the arrival of Creative Cloud for teams, which allowed everything to be managed centrally rather than forcing each designer to take out an individual licence.

Getting set up with Creative Cloud for teams

When it came to getting set up with Creative Cloud for teams, “It was really easy,” said Loui. “We just had to assign the email addresses of the individual designers to the licence. They then got an invitation to the main Creative Cloud portal.”

From there, the designers can download whichever apps they need. If their requirements change or they want to explore a new app, they simply head back to the portal. On the flipside of that, our design managers can also choose to lock down apps if they wish. “We’ve stayed away from that as just because some of our apps aren’t part of our workflow now, doesn’t mean they won’t be in the future. If we don’t explore them we don’t know what we could be missing. The expanded range of apps available as standard in Creative Cloud for teams is great to give us opportunities to be able to cater more widely to our clients’ needs.”

Finding new features and tools

One of the main benefits of moving to Creative Cloud for teams was that our designers got access to a host of new tools. “I love the idea of Edge Animate and the possibilities it opens up when you’re creating HTML5 animations for websites and iBooks,” said Paul, while our graphic designer Liana is a big fan of Kuler: “You can download it to your iPhone, which is great if you get inspiration on the go or need to kill time on the bus.”

Across the department, there’s also been a lot of interest in InCopy. “I looked at it years ago but made the decision that the extra cost wasn’t justified then – now it’s free it might be a really useful addition to our workflow,” said Loui.

So would we recommend it?

“Yes,” said Loui. “Firstly because the range of apps that come as standard within Creative Cloud and the seamless integration between them. And secondly because of the admin side of things – I’m very pleased not to have to mess about with loading installer CDs, it’s much better to have a central area where I can download the apps I need when I need them. Plus it’s great that the licence allows me to load Creative Cloud on my home computer so I can continue with some bits at home if I need to, or any of the team can pick up work out of office – it helps us stay productive without being tied down.”

“I’ve changed my mind about the cost after working with it,” Paul added. “Yes, on the face of it, moving to a subscription rather than owning your software is strange, but you do get access to all the applications. This opens a lot of doors creatively and also challenges you and makes you want to learn more and do more.”

Want to know more about how Adobe Creative Cloud for teams could help you? Get in touch with our team on 03332 409 306 or email Adobe@Jigsaw24.com. For all the latest news and tips follow us on Twitter or ‘Like’ us on Facebook.
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Our Adobe Creative Cloud features and price guide

Our Adobe Creative Cloud features and price guide

As well as access to the most up to date Adobe favourites like Photoshop CC, InDesign CC and Illustrator CC, Creative Cloud includes extras like Typekit, Edge, Muse, Lightroom and Digital Publishing Suite (as well as 100GB online storage, centralised billing, online licence management and tech support). And until 31st August, you can get all this from as little as £362 per year! Take a look at our comparison guide to see how you could benefit or click the banner at the bottom for even more info…

Want to know more about subscribing to Adobe Creative Cloud? Give us a call on 03332 409 306 or email Adobe@Jigsaw24.com. For all the latest news and tips, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

Adobe Creative Cloud licensing explained

Adobe Creative Cloud licensing explained

With boxed copies of Adobe Creative Suite a thing of the past, and Creative Cloud taking over as the only way to get your fix of Photoshop, InDesign, Premiere Pro and more, the old upgrade policy has also changed. So here’s our guide to the latest Adobe licensing options, including how to buy, what you’re likely to pay, and what you can do if you’re only after one specific Adobe application.

With Creative Cloud, Adobe want to make it easier (and ultimately cheaper!) to make sure you’re always on the most up-to-date software, and the best way to do this is with a subscription service. Before, when you bought a perpetual licence, it was effectively out of date the moment you installed the software on your machine. But by now subscribing to Creative Cloud for teams, you get instant access to any updates the moment they’re out. Not only that, you get maintenance and support bundled in, extras like Muse, Lightroom and Digital Publishing Suite, and all the collaborative benefits of working with clients and colleagues in the cloud.

So how do we buy into Creative Cloud?

To get Creative Cloud, the best thing would be to get in touch, as we can help set you up with a subscription. If you’re looking to deploy Creative Cloud for teams, there’s a new scheme to manage the process called the Value Incentive Plan (VIP). This lets you purchase, manage, and assign permissions to use Adobe software and services to users through a really simple, easy to use portal.

Basically, your Jigsaw24 contact sets up a VIP portal and invites you in, then you deploy the software as needed, and can monitor who’s got access to what. Becoming a VIP member also lets you keep track of all your Cloud seats in a single agreement with a single anniversary date, even if you add extra seats part way through the year, so you never lose track of what needs renewing.

What’s happened to TLP/CLP?

If you feel particularly averse to the cloud, you can stick to your old TLP (Transactional Licensing Program, where you make a single one-off purchase) or CLP (Cumulative Licensing Program, where you get discounts for buying more than eight seats) model and buy Adobe Creative Suite CS6. However, it’s very important to note that any future releases and updates to software will only be available through Creative Cloud. After that, Adobe will only release support for operating systems.

[UPDATE, 16/04/2014]: From 1st June 2014, Adobe CS6 will no longer be available in TLP and CLP licensing programmes, with the last order date being 30th May. Adobe are doing this to simplify their creative offering and decision making process for customers and by removing this option and focusing on Creative Cloud, it will be easier for all customers to stay up to date with the latest and greatest features and tools. If you have any questions about making the move to Creative Cloud, please get in touch!

But I only ever use one application…

Adobe have now released individual subscriptions for all their top Creative Cloud apps. So if you only need to do some retouching in Photoshop CC, only require the drawing tools in Illustrator CC, or could just do with InDesign CC for some page layout, you can do just that. With a Creative Cloud for teams single app subscription, you get access to the latest features of your Adobe CC app, but with the added benefit of predictable budgeting and some great online extras.

The obvious difference is that, while Creative Cloud for teams complete includes access to the full range of Creative Cloud apps and services (including the online collaborative tools and file sharing functionality), a single app plan only includes access to one app and limits the amount of storage to 20GB per user (100GB for the complete option). Additionally, while the single app version lets you sync, share and collaborate with colleagues, and create a customised online portfolio with Behance ProSite, you don’t have access to the full range of Creative Cloud apps.

To put that into perspective, with complete, you’re getting access to 19 apps, 6 additional web tools and 8 workflow apps. With single apps, you’re only getting access to one chosen app and Behance, but it is around half the price of the complete version’s promo price.

How much am I likely to pay?

You pay an annual subscription fee for whatever version of Creative Cloud you use. As of 1st June 2014, the standard fee is £455 per user, per year for access to practically every application Adobe produce, plus any updates and some tech support from Adobe.

Want to know more about subscribing to Adobe Creative Cloud? Give us a call on 03332 409 306 or email Adobe@Jigsaw24.com. For all the latest news and tips, follow @WeAreJigsaw24 on Twitter or ‘Like’ us on Facebook

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Bringing video in house: The Jigsaw24 Guide

Bringing video in house: The Jigsaw24 Guide

Adding video content to your offering is a great way to win new business, up end user engagement and create a stronger brand identity for your clients – and thanks to Adobe, helping your existing design team get to grips with a new medium is far easier than you’d think. If you’re currently packing Master Collection (or have just picked a copy of Production Premium CS6), you already have all the tools you need to produce cracking content, all in a single, integrated workflow.

Here’s how we did it…

“When we decided to start producing videos in-house, we looked at all the major NLEs,'” explains Tom Cottle, our resident Multimedia Designer. “I’d used Final Cut before, but when I joined Jigsaw24, the rest of the design team already had Master Collection. When I started exploring the video tools that it included, it became obvious that when we were trying to hit tight deadlines, I’d really appreciate the dynamic link between Photoshop, Premiere Pro and After Effects in Creative Suite, and the fact that it was cross-platform meant it would be easier to move projects between machines.”

As well as editing in Premiere Pro, Tom and the rest of the design team can ingest their footage in Prelude, add titles and graphics in Photoshop or After Effects, grade using SpeedGrade and output footage via Media Encoder or Encore, all without leaving Creative Suite. “It means we can divide up jobs if we’re in a hurry – someone can tweak a frame in Photoshop while I’m cutting another part of the project, and because Adobe software’s so common it’s easy to pick up the basic controls fast, especially now that you can do some video editing in Photoshop,” he says.

And CS6 looks to be the most user-friendly iteration yet. “The new UI has me excited,” says Tom. “I often find myself rearranging my panels in Premiere, and I can see CS6 will help avoid this – it’s been more thoroughly thought out, which’ll really help anyone new to video. I like the new larger thumbnail view mode for clips in the project panel, which makes it easier to find the specific clip you need by hovering the mouse over the thumbnail to scrub
through it quickly. Plus with the new Global Performance Cache, everything’s so much faster, which we always need.”

Handheld footage looking blurry?

Not to worry. Premiere Pro and After Effects CS6 include Warp Stabiliser, a neat little tool that lets you stabilise your shots during editing. If you’re shooting video on an older DSLR, you might find that some shots have a strange ‘jello-like’ blur to them because the rolling shutter can’t handle video. This used to be a big problem, but thankfully Adobe have added Rolling Shutter Repair to Premiere Pro CS6. This lets you lose the blur without auto-stabilising the shot, so you can get that naturalistic, handheld look without looking like your footage has been slimed.

Want to add 3D graphics to your promos?

Easy-peasy. After Effects isn’t a full-on 3D modeller like CINEMA 4D or 3ds Max (though it does have built-in integration with them), but the latest version still makes it simple to add 3D text and graphics to your footage. There’s a new, more powerful 3D tracker that lets you identify spaces in your footage where 3D elements will work, then drop in extruded text or objects you’ve created in After Effects or Photoshop CS6 Extended.

Want to work more naturally with 3D images?

We’re big fans of Wacom’s Cintiq 24HD, a giant monitor-cum-tablet that lets you get close to your work comfortably (you can reposition it like an old school drafting table) and, with customisable controls, can be made to suit any programme or workflow. A lot of design and 3D software is optimised for pen tablets, and the Cintiq combines those pen controls with a huge, hi-res workspace that’s exactly what you need if you’re doing detailed 3D or illustration work. You can even set up different configurations of controls for different apps, and the Cintiq will automatically switch them when you move between programs, so you’ve always got your most-used tools right at your fingertips.

For those who don’t have a spare grand and a half, try the slightly more modest Intuos5, which combines a pen tablet and touchpad so you can work more fluidly than you’d be able to using a keyboard and mouse.

Don’t want to wait for renders?

To make the most of After Effects CS6’s ridiculous speeds, you’ll need a workstation with a powerful GPU. NVIDIA’s CUDA-enabled and widely- qualified Quadro range are a safe bet, with the Quadro 4000 being a staple of our M&E solutions.

For maximum efficiency, you can combine a Quadro with a Tesla card to make what NVIDIA call a ‘Maximus’ configuration – one card handles all the mundane graphics tasks, like refreshing your screen, while the other powers through renders or focuses on playing back video so you never experience
any lag. We can build you a custom setup like this mammoth, Maximus-ready workstation (it’s got a 500GB hard drive, an AJA Kona LHe Plus video card for handling your footage and two terabytes of memory), and will even pre-install and configure all the necessary software and drivers. We like to feel useful.

Want to go further than three-way colour correction?

SpeedGrade CS6 is a great place to start, with a vast library of presets and histogram and waveform displays that’ll be familiar to anyone who’s colour-corrected stills before. Powering the whole shebang is the IRIDAS Lumetri Deep Colour Engine, which allows you to apply all changes with 32-bit floating point accuracy, even if you’re working with mammoth RAW or HDR files (translation: it’s super-accurate, even when faced with multiple layers of effects, and it’s not going to freeze on you every five minutes.

Want your audio to be as polished as your footage?

Adobe’s Audition audio editing software is now packing a host of tools that anyone working on sound would previously have had to purchase a separate, dedicated digital audio workstation for, making it a great contender for producing podcasts and adding quality audio to your videos. You can align and replace your shonky location dialogue with your polished studio recordings, and the Rubbadub feature lets you fix any lip syncing issues in a fraction of the time it’d take to do by eye. You can also stretch your clips nondestructively in realtime, preview changes and settings, and a new varispeed mode adjusts speed and pitch together automatically.

Need to offer clients footage quickly?

Once you’ve got your footage, you’re going to need to distribute it. Encore lets you deliver to Blu-ray so you can hand clients a hard copy, while Media Encoder handles digital delivery. However, you’ll need a bit of help from Matrox, whose MXO2 Max and CompressHD cards let you accelerate transcoding to H.264 (the format you’ll need your footage in if you want to send it straight to the web) by up to five times.

To find out more about adding video to your design and publishing offering with Adobe Creative Suite 6 get in touch. Give us a call on 03332 409 306 or email broadcast@Jigsaw24.com. To keep up with all the latest news, follow @Jigsaw24Video on Twitter or Like’ our Facebook page.