Adobe Premiere Pro goes to Sundance: Q&A with Filmmaker Jon Carr


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Jon Carr is a director and post-production specialist based in Los Angeles. He has worked on a wide variety of projects for clients including Coldplay, NBC, Moment Factory, as well as various projects for Canon.
Jon will be at the 2016 Sundance Film Festival demonstrating the 4K post-production workflow for EOS C300 Mark II footage with Adobe Premiere Pro CC at the Canon Creative Studio.
He will be running Premiere Pro on a state-of-the-art HP Z840 workstation with Dual Xeon 8-core CPU, 128GB of RAM, and an NVIDIA Quadro M5000 graphics card driving dual HP Z27 4K displays and two Canon DPV-3010 4K reference monitors. 
We spoke with Jon Carr recently about his work, his tools, and his journey as a filmmaker.
Are you looking forward to going to Sundance 2016?
I am pumped! I look forward to meeting and talking with fellow filmmakers about Adobe and the Canon EOS C300 Mark II during the day and spending my nights taking in films and enjoying the experience.
I recently purchased a Canon C300 Mark II and am really excited to get down to work and start shooting with this amazing camera.

How did you get into filmmaking?
I graduated with a marketing degree and started in the corporate world. I started to play around with editing and began picking editing jobs on the side. I loved it and read and studied all I could to fill in the gaps from not attending film school. Eventually I made the leap to go full-time. I was fortunate to have some great experiences along the way, such as working as an editor with Vincent Laforet.
Last year I took a step back to start focusing more on creating my own narrative content. I spent the majority of my filmmaking career working in post production but wanted to develop my skill set as a director. It wasn’t easy as I had to turn down traditional gigs and pay for many of the expenses from my own pocket, but I learned a lot by doing this. I also built a team that I can count on moving forward which is critical.
Why do you use Adobe Premiere Pro and the Adobe video tools?
I am a long time Photoshop and After Effects user so it was a natural transition for me moving from Final Cut 7 to Premiere Pro several years ago. I love the integration between the Adobe apps and their continued innovation. I am really excited about the support for H.265 and HDR content which is becoming more relevant with new 4K televisions and 10-bit panels. It seems like no matter what you throw at Premiere, it can handle it. I have worked on many extreme resolution projects that push the cutting edge of technology and the Adobe CC tools allowed me to get the job done.

How is Premiere for working with Canon footage?
The C300 Mark II has a brand new XF-AVC codec and from day one, it worked within Premiere Pro. I was fortunate to have a chance to shoot on a pre-production C300 Mark II in early 2015 and pulled together a cut with no problems.
Premiere Pro does an amazing job handling whatever I throw at it. Each year post production becomes more challenging with an unrelenting expansion of new cameras and codecs but I have been able to count on Premiere Pro to help me get my edits finished and out successfully no matter what camera was used for the shoot. The 12-bit 2K and 10-bit 4K coming out of the C300 Mark II requires a lot in terms of post processing but I have been able to jump right in and start cutting. Even if you have a system that isn’t top of the line, you can still drop down your timeline resolution and usually get solid results when cutting on these massive 4K and beyond camera formats.
Do you ever use the in-camera proxy file option in the C300 Mark II?
Yes! There have been numerous times when I am out in the field and need to pull together a quick edit in Premiere on a laptop and I can use the proxy files to do an assemble and then relink to the larger 10-bit files when I am back at my workstation and doing the final color grade.
What’s the coolest project you’re working on right now?
Late last year we finished a short documentary on a custom-built car for the SEMA auto show in Las Vegas. The video is titled RyWire and we shot the film on a Canon C300 Mark II, Canon XC10, and DJI Inspire 1. We had a limited budget and had to get creative, so we did things like mounting a small jib out of the back of a pickup truck and attached a DJI Ronin with the C300 Mark II. The jib and Ronin combination created a poor man’s Russian Arm. We had a lot of fun on this project. The response to the film has been amazing.

You had an interesting approach on your short film Late Shift. Can you tell us about that?
Yes. This week we are launching Late Shift. This film is very much a passion project that we sort of “reverse engineered” off an incredible location called the Valley Relics Museum in Chatsworth California. Together with my two producing partners, Benjamin Ariff and Anthony Gelinas, as well as my DP, David C Weldon Jr., we built our story around the location. I edited natively in 6K in Premiere Pro CC 2015 and did numerous visual effects in After Effects. The whole project was a wonderful creative challenge and a great way to make a film.

I am currently in preproduction for a project with an 11.5K final deliverable. It will be the most technologically challenging project I have tackled to date. I cannot talk specifics but I will be very excited to share results later this year. We will be doing all the post in Adobe After Effects.
Why is Premiere Pro a great choice for indie filmmakers?
The Adobe Creative Cloud is a one-stop shop for filmmaking. I have written scripts in Adobe Story so the scope is beyond just post production. I am consistently using Photoshop, Premiere Pro, After Effects, Audition, and Media Encoder. These tools allow me to finish and deliver everything from a short documentary to a full-length feature film. Creative Cloud is a no-brainer for filmmakers.
Any tips for people who are new to Premiere Pro? 
Just dig in. You will be up to speed and editing within a few hours. It is an incredibly easy and intuitive product to figure out. The Premiere community has grown so much over the last several years. It’s easy to find loads of tutorials online. The beauty of Premiere is that is easy to use but it has a feature set that’s deep enough for major motion picture A-list Hollywood editors. I love the integration between Premiere Pro and After Effects and I am a big fan of what Adobe is doing with enhanced color correction capabilities in the 2015 version.

What advice do you have for people who want to get into filmmaking?
It really comes down to storytelling. I spent years striving to master the technical side of filmmaking to make my films look good, but the reality is a good story is what engages your audience and keeps them watching. There are incredible tools available for new filmmakers today that I could have only dreamed about when first starting out: an iPhone, a decent microphone, and Creative Cloud and you are well on your way. Just get out there and start making something. That’s how you will find your voice.
My second piece of advice: surround yourself with good people. I spent years trying to do it all myself. The truth is getting other talented people involved in my projects has only improved my craft.
Finally, don’t be afraid of feedback! Ask as many people as possible to watch your films and listen to their feedback. This is really hard and your first reaction is to justify your work, but listening to feedback will help you get to your ultimate goal of telling amazing stories.
Meet Jon Carr at the Canon Creative Studio, January 23 through 26 during the Sundance Film Festival 2016 – and see Premiere Pro in action with the latest Canon 4K footage running on an HP Z840.
Learn more about Adobe Premiere Pro CC and the Creative Cloud video tools.

Michael Bonocore tells stunning visual stories through video and photos


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Videographer and photographer interweaves still and motion mediums with Adobe Creative Cloud
Michael Bonocore didn’t come from a photography or visual arts background. That’s nearly impossible to believe, given his accomplishments—first with photography, and more recently with video. He humbly chalks up his success to hard work and luck, but it also has a lot to do with talent and passion. He specializes in travel photography, telling stories using both photos and video and relying on an Adobe Creative Cloud workflow.

 
Adobe: What started you off in photography?
Bonocore: I was leaving the U.S. for the first time at age 27 to go to Costa Rica. I was familiar with Flickr so I decided to search for pictures of Costa Rica and saw some really beautiful images. I immediately became interested in learning how to take amazing photos.
I went to Costa Rica with a point-and-shoot camera and set up my compositions on benches and pieces of wood on the beach. When I got home, I bought a DSLR camera and kept progressing from there. Those first pictures were terrible. When I look at them today, I cringe, but they keep me grounded and remind me that I’m improving.

 
Adobe: How did your turn your passion into a career?
Bonocore: I previously worked as a database administrator, SQL administrator, and QA manager. After I started taking photos, I became active on social media, which led to an opportunity at SmugMug as VIP Manager. I got to know some of the biggest names in photography and managed those relationships.
Adobe: How has your career evolved?
Bonocore: I’ve worked very hard, been in the right place at the right time, and known the right people. Currently, I’m a Travel Editor for Resource Magazine and I recently did travel guides for the print magazine on Namibia and Iceland. I’ve started a travel-specific website, Resource Travel, for Resource as well.

 
I also lead photography workshops all over the world for The Giving Lens, working with international non-profit organizations to help bring awareness to the causes that I am passionate about, mostly having to do with children. Through the workshops, I’ve taught photography to children in countries such as Nicaragua, Peru, Jordan, and India. I’ve also documented the work of elephant sanctuaries in Thailand and helped bring awareness to women’s cooperatives in the Middle East through photo and video stories.

Adobe: What Adobe Creative Cloud apps do you use?
Bonocore: When I got my first DSLR camera, I learned Adobe Photoshop Lightroom, and then I started working in Adobe Photoshop. At SmugMug, I worked as production assistant and second camera to filmmaker Anton Lorimer in Norway making a film documenting the work of adventure photographer Chris Burkard. One of the perks was I got to use a Sony FS700 to do some slow motion work for the film. I was comfortable with the camera and also made a super slow motion video for Mavericks in December 2014.
I fell in love with the process of shooting and watching the creation come together. At the time, I hadn’t done any video editing, but I downloaded Adobe Premiere Pro and found that I could put different clips together quickly and make them look really great in a matter of minutes. Plus, it works perfectly with Photoshop so I can combine stills and video easily.
 

Adobe: Do mobile technologies play a role in your work?
Bonocore: Yes, I decided to try mobile filmmaking not too long ago and I’ve used Adobe Premiere Clip to edit some of my shots. I created a video of Big Sur that was all time-lapsed clips and cut them together with Premiere Clip. It’s so cool to have a little video camera in your pocket at all times. One of the things I like most is to share short 15-second clips while I’m travelling. People can follow my adventures, as they unfold—not three to five weeks afterward.
I was just in New York and filmed with nothing but my iPhone 6. I’ve got some really cool slow motion and time-lapse footage of the Brooklyn Bridge and DUMBO that will make a great mobile film.
Adobe: Do you plan to continue working with both photography and video?
Bonocore: I’ll never give up photography, but travel bureaus and companies are both moving in the direction of telling stories through video. My passion is interweaving photography and video into one compelling story. My clients know that what I offer is a cohesive story over two different mediums and they see the value in that approach.
Adobe: What’s next for you?
Bonocore: I travel seven or eight months out of the year, so right now I’m just happy to be home. I have a lot of editing to do, and I look forward to using more of the mobile apps in Creative Cloud.
Learn more about Adobe Creative Cloud
 

LEARN more about Premiere Clip
DOWNLOAD Premiere Clip for iPhone, iPad & Android Smartphones
FOLLOW @PremiereClip
WATCH a tutorial to get started
 

Unicode’s “Adopt a Character” Campaign


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In December of 2015, Unicode launched their Adopt a Character campaign, whose goal is to raise funding for the purpose of encoding a large number of remaining scripts, along with encoding additional characters for scripts that are already encoded. In other words, to help Unicode do its important work. The Unicode Consortium has 501(c)(3) tax status, meaning that donations are tax-deductible in the US, and if your company supports matching grants, you can leverage that to significantly increase the effective donation.

There are three levels of sponsorship: Gold (USD $5K), Silver (USD $1K), and Bronze (USD $100). All sponsors receive a very nice certificate. Gold and Silver sponsors can also choose to receive a custom-engraved thank-you gift, though doing so will reduce the amount of the donation.
I decided to adopt the very appropriate U+1F421 🐡 BLOWFISH character at the Silver level, and my certificate is shown above. I declined the custom-engraved thank-you gift, mainly because I wanted to ensure that my donation would be maximized. (I am very curious about what the gift looks like.) Also, my employer, Adobe, kindly offers a 1:1 matching grant for employee donations, so my effective donation will eventually become USD $2K.
Click here to see the growing list of adopted characters. Interestingly, and as of this writing, I am still the sole Silver sponsor.
If you have a favorite character—or character sequence, such as a particular flag—I encourage you to consider adopting it, or to adopt a character on the behalf of someone as a gift, being sure to check whether your employer offers matching grants to maximize the donation. After all, it is for a very good cause.
Disclaimer: I am Adobe’s primary representative to Unicode, meaning that there may be some amount of perceived bias, but I also put my money where my mouth is by adopting a character at one of the higher levels.
🐡

Da braucht es keine Superkräfte – wie elektronische Signaturen das kreative Auftragsmanagement beschleunigen

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Es gibt wohl kaum etwas Nervigeres, wenn ein eiliger Auftrag in Verzug gerät, weil erst noch Vertragsunterschriften zwischen euch und euren Kunden auf dem Postweg verschickt werden müssen. Nötig ist das heutzutage nicht mehr. Inzwischen sind digitale Unterschriften auch für Kreative und Agenturen eine praxistaugliche Alternative. So lassen sich Unterschriften viel schneller austauschen und Aufträge schneller abschließen. Weil elektronische Unterschriften zudem viel verbindlicher sind als eine E-Mail mit Lesebestätigung, vermeidet ihr Missverständnisse und könnt mit gutem Gefühl in eure kreative Arbeit starten.
Warum sich elektronische Unterschriften auch für Kreative lohnen
So wie für viele andere Branchen kann es sich auch für Kreative lohnen, mit elektronischen Unterschriften der Vertragsbürokratie einen Turbo-Booster zu verpassen. Ihr braucht Assets über ein unveröffentlichtes Produkt? Ohne unterschriebene Vertraulichkeitserklärung keine Chance. Layoutet ihr börsenrelevante Geschäftsberichte oder bearbeitet Webseiten für medizinische-Produkte, kann eine vom Kunden unterschriebene Freigabe von Nöten sein.
Elektronische Unterschriften in der Creative Cloud – mit Adobe eSign
Praktisch für Nutzer der Creative Cloud: Wer das Komplettpaket abonniert hat, hat schon alles, was er für elektronische Unterschriften braucht, zur Hand – ohne Mehrkosten. In Adobe Acrobat als Teil der Creative Cloud ist bereits die Basisvariante des Adobe eSign Service für elektronische Signaturen enthalten. Sie ist in der Seitenleiste als “Zum Unterschreiben senden“ zu finden.
Wie Unternehmen die elektronische Signatur nutzen können, zeigt auch anschaulich unser Video:

Ist das alles eigentlich rechtsverbindlich?
Achtung, jetzt wird es kurz technisch: Laut §127 BGB kommt die einfache elektronische Signatur, wie sie auch bei eSign eingesetzt wird, für alle formfreien Vereinbarungen in Betracht. Auch vor Gericht dürfen einfache elektronische Signaturen als Beweismittel nicht einfach abgelehnt werden. Bedenken gegen die elektronische Signatur sind also unbegründet. Täglich unterschreiben wir Empfangsbestätigungen von Paketen, Mietwagenverträge oder Kreditkartenzahlungen mit elektronischen Unterschriften. Warum nicht auch Verträge zwischen Kreativen und Kunden?
Adobe eSign in Acrobat nutzen: So geht’s
Adobe eSign ermöglicht es, PDF-Dokumente mittels der Funktion „Zum Unterschreiben senden“ per E-Mail zum Empfänger zu schicken und auf jedem beliebigen Smartphone-Display digital signieren zu lassen. Die Bestätigung darüber erhaltet ihr wiederum umgehend per E-Mail (wie das konkret funktioniert, zeigt dieses Video).
Was haltet ihr von elektronischen Signaturen in eurem Geschäftsalltag? Wer von euch nutzt sie schon? Ich freue mich auf eure Kommentare.
Viele Grüße
Euer Rüdiger

Learn the 7 Principles of Design in Under 3 Minutes


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Like any art or craft, design comes with its own language and basic principles. Adobe Voice user Megan Kendall created the below video to explain the basic principles of design in quick definitions and corresponding images. Even if you’re just starting out, you’re likely already using some of these elements instinctually. However, arming yourself with these seven design words and their meanings will not only give you a common language with other designers and artists, but will help you identify which principles will best illustrate your story. Get a basic understanding of design principles in under three minutes by watching the Voice below.

Deleting Layer Groups in Photoshop

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To delete a Layer Group, select Layer > Delete > Group or, with the Layer  Group selected on the Layers panel, click the trash can icon. Either method displays a dialog with the options to delete the “Group and Contents” (which deletes both), “Group Only” (which removes any Layer  Groups but leaves the layers), or “Cancel”.
To delete the Layer Group and all of it’s contents while bypassing the dialog select the Layer Group on the Layers panel and either drag the Layer Group to the trash can icon or, Option -click (Mac) | Alt -click (Win) the trash can icon.
Command  -drag (Mac) | Control  -drag (Win) a Layer Group to the trash can icon to delete a Layer Group without deleting it’s contents.

#CreativeFriday – Sync Lightroom edits across Creative Cloud to other collaborators


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Creative Cloud is very useful for many things. In a recent blog post i wrote about how i’ve been using it to transfer my negative scans to my Lightroom main machine and use two computers in tandem, without having to setup any networking servers (saving me time and money).
Another great use is when you are collaborating on edits, especially with your Lightroom adjustments/keywords etc. As we know Lightroom is the best non-destructive image editor out there, and it’s probably the same application that your peer(s) are using.
Lightroom as an image processor doesn’t actually make any changes to the physical files (RAW, Video, JPG etc.), until the adjustments are exported. By default Lightroom places any adjustments (including keywords) into the catalog, however, it can be configured to place any changes in a very small .xmp file next to the image file. This occurs, especially when a native camera manufacturer file exists (i.e. Canon, Nikon etc), but will embed any changes in the .xmp file into an Adobe format, like PSD, TIFF or DNG files. These adjustments are carried/embedded for each format by using a small meta data file called a .XMP file, this file contains the adjustments.
Configuring Lightroom to write to this small .XMP file is pretty simple and can be done in the catalog settings. Within the catalog settings, the ‘Automatically write meta data changes into .XMP’ needs to be turned on, once done, the adjustments will be written to the external .xml file automatically (you can also force this to happen using CMD+S (Mac)/ Ctrl+S (Win).
Obviously this is useful when used locally, and can support a back up strategy of your adjustments, without adding much over head to your setup/storage. But this .xmp file change can be very useful when collaborating with others, using Creative Cloud.
Creative Cloud as you probably already know can be used as a source for images, but it’s possible to add the Creative Cloud folder (or folder within it) to your Lightroom catalog. Just make sure that the file action is set to ‘ADD’ otherwise, Lightroom will copy the files.
 

Let us take these three images, that exist in the Creative Cloud folder.
N.B. Anything in the creative cloud folder (as long as folder sync is turned on (set up is covered in this blog post)), Further configuration to the Creative Cloud folder is described here (I.e. choosing folders to sync/not sync).

When adjustments are made to the image and CTRL+S/CMD+S is pressed (will be done automatically as well, but the save works if you need it on demand), a .XMP file is created next to the file on the Creative Cloud folder

At this point, the .xmp file is synced to the Creative Cloud by using the desktop application.
To enable others to access the folder, in this case above, the ‘RAW files’ (you will most likely have a different file name), folder  supports a right click, and doing this will allow collaboration. Selecting Collaborators will take you to the Web view of the folder and ask for an Adobe ID for the user to collaborate with. The process to do this is covered in this post.
Once the folder has collaborators assigned, (using an Adobe ID (even users without an active subscription), they will need to accept an invitation (sent by email), also people using and older version of Lightroom that have an Adobe ID but don’t have a subscription, can partake). The other user(s) will just need to import the folder into their Lightroom, and make sure that the .xml setting is turned in the catalog settings. Changes can now be made to the image on their computer and any changes with either be automatically sent over the Creative Cloud (or via CTRL+S/CMD+S) and will be send to the other collaborators.
Other collaborators will be able to see the changes, by just Synchronising the folder where the changes have been made. Synchronise folder can be called up by right clicking on the folder in question (which can be a root folder or a sub folder).

 
N.B. Lightroom does not have any check-in or check out locking mechanism, so you will just need to have a conversation with the other collaborators when the edits are ready for syncing.
I hope you enjoy this, but again, it’s a manual process and does not have a read only configuration.
 
 
 
 
 
 
 

Seen This Week: Creatives Pay Tribute to David Bowie

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With the untimely passing of David Bowie this week, many of us have paused to think about the impact he made on music and culture over the past five decades. He was a fearless, original and inspirational artist. Creatives around the world took to their craft to share their grief, appreciation and love for the legendary musician. Simply put, we’re inspired and wanted to share a small collection of amazing work that was posted on Behance this week.
Sometimes a picture says it all! Each week we’ll capture a moment that will give you a better view into Adobe, our employees, customers and communities.

Writing for Social Change: 4 Tips for Getting People to Care About Your Cause


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Image source
You have a cause you care deeply about, but how do you get others to care as well? And, even better, inspire them to do something? Thanks to social media and the era of armchair activism, people are bombarded with awareness campaigns, fundraisers, and invitations to “like” or support a cause everyday. Here are four storytelling strategies to make your writing more persuasive.
1. Influence with Facts and Stats
Facts and statistics are good ways to explain why a problem is big enough that people need to address it. Most readers will only care about a problem that affects a lot of people. That’s why you need to lay it all out so the issue is easy to understand. When possible, include charts, graphs and other visual aids to help people comprehend the magnitude of your issue.
You also need to find a way that helps people connect to the facts you present. If you want people to support anti-tobacco legislation, you may mention that over 20 million Americans have died from smoking since 1964. For a lot of readers, though, that doesn’t mean anything because they cannot visualize what 20 million people looks like.
You can make the figure more concrete by pointing out that this is larger than the population of New York state. Suddenly, the reader gains some insight into the number’s size.
2. Make it Personal
Some readers will only connect to your writing when it includes an emotional element that makes it personal. For these people, statistics aren’t very convincing. You need a good story.
The Syrian refugee crisis offers a good example that you can follow. It’s one thing to tell your reader that there are over 6.6 million refugees displaced within Syria and that half of those people are children. It’s another thing to focus on the plight of a single family who struggled to find safety in the United States. Those personal details make it easier for the reader to identify with the refugee’s plight. They may even start to think about how terrible it would be if their own families had to experience such an ordeal.
When possible, include details that explain how an issue has affected a real person, family or group. The more personal it is, the more likely it is that readers will feel persuaded to change the problem.
3. Know Where to Publish
Successful activism has a lot to do with finding people where they already are, and more importantly tapping into the right kind of audience. Here are good places to start:

Your local newspaper: Pitch an editor about the issue to see if a professional will take it on. That way you’re the source, not the writer. Alternatively, write a letter to the editor or ombudsmen as a concerned citizen. Make sure you can peg your cause to a timely event or issue that directly affects your local community. Pitching newspapers and magazines will also give you a sense of if you have a compelling story or if you need to do more research or tweak your angle.
Newsletters from social organizations (alumni associations, professional groups, local and national clubs): Research organizations who are directly or indirectly related to your cause to see if you can partner. Chances are they have a newsletter or a social outreach strategy already in place and convincing a couple people or a boardroom how important your issue is is a lot easier than convincing the masses behind their computer screens.
Blogs: Offer to guest-post on a related blog. Make sure to position yourself as an expert on the topic so the owner
Social media: Show your enthusiasm online to rally the people who care about you to care about the cause. Sincerity and authenticity go a long way.
Email: Reach out to your network personally. Indiegogo, an international crowdfunding platform, reports that when it comes to funding, email brings in about 20 percent more than any other platform. Keep your email short but include links to learn more and most importantly explicit steps on how they can get involved.

4. Include a Strong Call to Action
It isn’t enough to make people aware of a problem. You have to give them advice on how they can help. You can do this by ending your article with a call to action that tells readers how they can contribute to the solution.
Give the reader all of the information needed to help. If you want them to contact your state’s governor, provide the contact info for that office, including the phone number and email address. If you want readers to donate money to a cause, tell them precisely how and where they can do that.
Try to remove as much ambiguity as possible from your call to action. People have busy lives that will quickly distract them from your writing. By doing some of the work for them, you make it easier for readers to take action that will lead to change.

Design and creativity trends you can expect to see in 2016


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The start of the year is always a time for setting new goals and modifying old ones. Since pretty much all I do, both work and play, has to do with design and creativity, I’ve decided to modify my goals and learn more. I believe the key to personal growth is to gain experience and learning from people you admire and who inspire you.
This is why I wanted to do a bit of a research regarding the design and creative scene and find out what the trends are going to be in 2016. I asked seven creative persons from different places around the world what they think. Here’s what they came back with:
Victoria Pavlov
Victoria Pavlov, Atlanta, USA
Digital painter, photographer, designer
2016 will be great and all about Mobile Apps! (Design workflow using your mobile app for mobile to mobile & mobile to desktop). We will be seeing more of “I can develop my vision – anywhere at any time” and this is so awesome!
In addition, I believe 2016 will erase all borders between traditional and digital art. Regarding web design, this year will be all about responsive design. In photography we’ll definitely see more “art” and a “story telling” type of style in photography.

 
 
 
 
 
Ville Toriseva
Ville Toriseva, Helsinki, Finland
Chief Strategy Officer/Founder Partner at CEO Helsinki
I believe innovation and creativity will meet clarity and simplicity in 2016. Game changing big innovations are however yet to come. A user centric approach is the core and the green fee for any innovations wishing to become reality. What I hope to see in 2016 in regards of innovations is sustainability and compassion. That is what the planet would need from innovations both right now as well as in the future.

 
 
 
 
 
Daniel Bruce
Daniel Bruce – Stockholm, Sweden
Designer
First of all, I’m convinced that the trends from the last couple of years will continue to flourish. Simple bootstrap sites with a focus on marketing for small business, material design inspired apps, large hero images, super clean shopping sites and so on. I do not see anything revolutionary that will take everything in a new direction on the horizon at the moment. But obviously there will be some new trends and directions with the potential to grow over the coming years. But if I was to list a few things that will happen in 2016 I would go with these:
1. One or two new geometric sans that will be the choice for almost all new identities and sites. Much like Circular in 2015.
2. Video instead of text and images to sell and explain products and business.
3. The start of an 80’s and 90’s revival where young designers start looking at work done by people like Neville Brody and Terry Jones.
That said. These predictions are for the current common viewports and user interfaces. But with the emerge of virtual reality and augmented reality, products like Google Project Tango, Oculus Rift and the Microsoft HoloLens we will see something completely new. At first visual design inspired by games and sci-fi interfaces, but further on design more suitable for different interior design concepts and personal preferences.

 
Bram Vanhaeren
Bram Vanhaeren – Antwerp, Belgium
Digital artist
I believe in 2016, authenticity will play a big role.
We are all well educated and the tools are getting better with the years (Remember Adobe MAX). We will have more time to focus on the “why” because we are winning so much time with improved workflows. Sketch for example – coming this year!

 
 
 
 
 
 
Aldis Hodge
Aldis Hodge – Los Angeles, USA
Watchmaker, actor
The budding design trends for the past few years have been compartmentalism (grouping as many gadgets and assets as possible into one thing), remote A.I. communications (replacing real human interaction with digital communication via apps, texting, social media, etc.) and green tech (electric cars, self efficient gadgets). I think trends tend to be cyclical though, so while these will remain, they will however constantly evolve.
I hope green tech will continue to grow. Hopefully A.I. communications will begin to fade because it’s very important to unplug and reconnect in a humane way. I hope our next generation (who already seems addicted to phones and laptops) finds a balance between the two worlds. And as for compartmentalism, I feel like it will continue to persist just because of the curious nature of humanity.
As a watchmaker of fine haute horology (strictly old school mechanical, not digital) my first priority is to make the best working machine with the most awesome design possible. Most of the time I have to force myself to simplify my work because I’m always challenging myself to add more complications. But in my heart I know, I’ll never stop. It’s the curse of an inventor: How much new cool tech can I add and still make it look effortless?

 
Jan De Coster
Jan De Coster – Mechelen, Belgium
Character design and HumanRobot relation expert
I think there will be a shift in the themes creative people are working on.
People are going from following popular social media campaigns about climate change or clash of cultures, to treating these problems as serious issues. Nobody wants only to look good on Facebook, but to take the challenge as creative people. Furthermore, I’m hoping for more pink and purple and more robots!

 
 
 
 
 
Elaine Finell
Elaine Finell – San Francisco, USA
Engineer, martial arts instructor, musician, writer.
1. An increasing blending between digital and analog processes. With better tools, both hardware and software, traditional artists will have improved access to digitize their media at many different points in the process, not just at the end.
2. An increasing willingness to talk about process and not just a desire to show the finished product. With an increasing emphasis on design thinking on all fronts, designers will need to communicate their design process to not only other designers, but also to clients, engineers, and stakeholders.
3. Teamwork. Historically, teamwork on creative projects has been crippled by the limitations of software. But the latter is quickly catching up and providing an increasing set of tools to collaborate and increase the speed of the feedback loop.
4. Subtlety. With the increased emphasis on microinteractions, interaction design is beginning to focus on the subtle feel of their designs as people interact with them. This means less wild, eye-catching animations and tinier movements that respond to the user’s actions in a satisfying way.

 
My conclusion
In this age of technology, the main trend seems to be all about going back to basics. The tools we have available are now so advanced, they actually allow us to focus more on the workflow itself as well as the creative process and making the world a better place – and what could possibly be more awesome than that!