Shooting for Generative AI: From Pre- to Post-Production

[Music] [I Ain't Worried by OneRepublic playing] # I don't know what you've been told # # But time is running out, no need to take it slow # # I'm stepping to you toe-to-toe # # I should be scared, honey, maybe so # # But I ain't worried 'bout it right now # # Keeping dreams alive, 1999, heroes # # I ain't worried 'bout it right now # # Swimmin' in the floods, dancing on the clouds below # # I ain't worried 'bout it # # I ain't worried 'bout it # # I ain't worried 'bout it # [AJ Bleyer] Hey! That's me.

Yo. Hi, hi.

Yo. Okay. What is up? Adobe MAX. Hi, Day 1, here we go. Doing the thing. Raise your hand if it's your first ever Adobe MAX.

God. Welcome. This is a sick, sick conference. Last year was my first ever Adobe MAX. They threw me straight to the wolves. I did a super session, and it was really, really sick. It's a really fun environment here. Everyone's super supportive. For those that don't know me, my name is AJ Bleyer. I'm a DGA Director. I'm also the Executive Producer and Founder of Advent Films. It's a commercial production company based in Los Angeles, and we specialize in shooting a lot of really fun, wild stuff. Over the last ten years, we've done a little bit of everything. I've worked with unusual animals. I've done some big vehicle stunts. I've built some large pyrotechnic arrays. I've hung out of helicopters, saw some celebrities, been to some weird places, jumped out of some perfectly good airplanes, and as you maybe saw from that reel, even did shooting Zero Gravity, which is definitely the craziest thing I've done. And I have made that my whole personality ever since.

I always wondered what it would be like to be alive during a major technological revolution, like what was even happening societally when the phone was invented, or the television, or even the computer and Internet just before me. And, gang, we got one. This is it. This is nuts. It's been wild to see how much AI has taken over every conversation, even the last 12 months, even since the last MAX. And it's been really fun to watch a lot of my creative friends dive into their old portfolios and reimagine what it would be like enhance it with GenAI. And I was one of those people. I wondered what would last MAX have been like if we were all in top hats? Or imagine what my childhood dog would be like if he was actually in a top hat? My point being, this is why this technology is so important. Where was I? There we go. This is why we have to invest in it. I did dive into an old project last MAX. I shot a video during the stay-at-home order in Los Angeles, and it was super shut down. It was wild, and I ran around the city, got a bunch of empty footage, and it was cool. But I released this around March of 2020. That was right when TikTok and Instagram Reels and YouTube Shorts was popping off. So when I posted this on social media, it's no surprise that the vertical video format, it just [CURSING]. It didn't work. So last year I showed how with Generative Extend in Photoshop, it was pretty easy to turn that into a vertical video. And it was it was really fun. It was really simple. But this is where I feel the AI conversation goes two places at the same time. On one hand, objectively very technologically impressive and handy. It's a good tool, but it's funny as visual creatives, visual painters as we all are in one medium or another, if you offer us a new palette of colors to work with, we all get pretty excited about that. That's sick. But as soon as you start saying you're going to innovate on our paintbrush, you feel weird. That's our thing, that's our process. That's our special sauce. But I would argue that having a willingness to evolve and innovate your process, just as critical as evolving your work itself. And if you look historically not to make a whole history thing, but this has happened so many times. There was resistance to paint tubes when they first came out for a long time. Painters part of being a painter. You grind your own paint, you make your own pigment. Wasn't a perfect system, dried up really quick, wasn't really that portable, and there was really resistance to it. People were actually-- There's concerns around its association with amateurism. People thought it was so convenient. People would be less dedicated to the craft. Fast forward, it took painting outside of the studio. It led to impressionism it. And actually it literally offered a whole new palette of colors. Fast forward from that, there was resistance to film, from theater people, story directors, actors. They thought technology couldn't capture the nuance of the human condition in the same way. And they were a little threatened by it. Fast forward people do both. They co-exist. It's taken storytelling even further, and you don't even have to look to-- I've been alive already for this conversation. Does anyone remember the resistance to digital photography from film? Yeah, you can make the best use case for it in the world, but it just changes the process. My first camera was a Canon Rebel. DSLR. You stick me in a dark room today, I wouldn't know where to begin. And I'm not knocking film. I think there's a unique quality that's beautiful. It's specific to film and a lot of my favorite tools Photoshop, Dodge, Burn, these are inspired by darkroom processes, but when I hit the creative scene, these were the tools available to me. I didn't really care about that particular skill set. And as I look to the future, everything in me is pointing that AI is going to be the creative tool of creatives today and tomorrow and for the future as far as I see it. So rather than just spend this time together selling you on a unique AI party trick and we will do some technical demos together, I want to zoom out a little bit and have a more important conversation and talk about how AI is changing the way we make art, not just the art that we make. Make sense? Cool. Before we dive in, two little disclaimers, this already apologized, that I want to say, the first is that none of this is pre-generated. We're going to do this live together. So you and I are going to see together what GenAI does for us. But the second is that it's really important to me, I want to be super clear. I think your creative process should be exactly that, yours. Should be unique to you. Every client, every project, every creative is different. This is not my way of selling you on how you should be creative. But if there's one thing that I could hope for as you walk away from this session, it's that in a couple of days when you leave MAX, and you dive into whatever your next creative project is, whatever that may be, you look at your entire creative process and you just start considering, where could I maybe start injecting some of these new Adobe tools into my mix? And whether you adopt them or you don't, that's completely up to you. But I think having an awareness of it is really important. It's allowed me to be a lot more efficient. It's evolved the work that I do, and I think it can do a lot more for people rather than be afraid of it. I just want you to consider it, toy around with it.

And, oh, if you have any questions, by the way, write them down. There's a little Q&A at the end of this and I would love to hear those too so if you think of anything. My creative process, I'm a Commercial Director. I'm also an Executive Producer and an Editor. So I'm in production, media production. So my process is pretty simple. I got pre-production, production, post-production, pretty simple. Those in my space know it's actually a lot more complicated than that. There's a lot more steps. You can see there's a whole second existential crisis that happens between client revisions and final asset delivery. Keep it simple. We're going to focus on the main three. And I actually feel like the third one gets enough attention at this conference people talking about editing stuff. So we're going to focus a little bit more on the first two, that's pre-production and production, starting with pre-production. For me, in my world, pre-production is a lot of deck building, art design, shot lists. I'll be frank in my world, the deck building stuff. Some people really love it. There's a lot of talented graphic designers here. I hire other people who are way better at it than me. It's not my favorite part of the process, but it's a super important part of the process because I get hired by people who may not be as imaginative or visually inspired. And that's okay, I love it. That's why I have a job. But it's super important as a director or photographer or conceptual artist, when you're selling a mood board or an esthetic or a concept to give someone the most vivid possible example of what you're doing so they know what you're doing and even for your crew too, so everyone's painting the same picture. So I was thinking about, "All right, well, what can I do for me? What can Adobe do for me in the prep process and the pre-production process?" And I find Photoshop and Premiere, they're really good at working with media that you've already shot. But there's a slept on thing here that I think is super powerful and it's Adobe Firefly. Raise your hand here if you've tinkered with Adobe Firefly. Raise your hand if you haven't tinkered with Adobe Firefly. About 50-50-ish. I was one of the people who hadn't. I was actually quick to dismiss it because first of all, I'm a pro app guy. I don't know, mess around with the stuff that isn't that. So I didn't really know what Firefly was. It's also like a website. It's not like a dedicated app. So I just didn't dig into it. But when I dove into this, it is so good for ideation and for mood boards and for tones. So we're going to dive into Firefly. But real quick, I need two colors from the audience. Two colors. Green and orange. Great. Cool. Let's dive in. Firefly here.

Now I'm a beta tester for Adobe. So some of the stuff is coming super quick. But we're going to start with text to image, which is available for everyone. So oftentimes, if we're shooting branded content, we want the entire world that we're in to be on brand with whatever the company's esthetic is. And oftentimes that means bringing their colors into the world that we're building. Especially if we're designing a set or something and I'm working with art department. But if someone said to me, "Hey, our colors are orange and green, make a beautiful living space that's orange and green," I wouldn't know where to start. And it can be tricky too, because you don't want to just paint a bunch of stuff orange and green. So it can be just as simple as saying-- "Temporary living room with orange." And I think the hardest part of presenting at Adobe MAX is typing in front of other people. It's the worst thing. Give it one second and it somehow even does an okay job. I find Firefly is really good at creating a vibe. It's actually really solid putting those colors together. Now there's a bunch of different controls here on the left, and we're going to go through these together. But I'm going to start with just this, right? So it's assuming I want to photograph. You can change that, but that's correct. I'm going to change this aspect ratio to 16:9 because that's what we're shooting. Hit Generate again.

And it can just continuously do this. But this is an incredible way to establish a palette for your client and give inspiration to your art department. It's just a great way to kick stuff off. And I have tried to trip this up and make an impossible scene. It's really, really good. Another color that isn't greener. What was it? Pink. So I can say with pink accents. If someone invited me over to a room that looked like this, I would normally want to leave. Except it does an okay job, you know? So this is a great way to just build an esthetic visually. When I'm working with a brand, especially brands that have bold or strong colors, just gets you thinking, you know? So okay, there's that. "But, AJ, this is just-- it isn't that specific," you know? Okay, it's a general thing. Well, let me finish. I'm still presenting. I'm going to go ahead and say I have a commercial coming up with a specific scene, maybe something a little bit more complex. I'm going to say stressed out man standing in a residential street next to a car after a car accident. And by the way, so that's a bigger scene. And we look at it. Now we got some great options here. Okay, cool. Some starting points here. And I can generate and generate and generate. But I'm a specific guy. And when I shoot, I have a very clear vision in my head. And maybe these aren't the shots that I have in mind. So for example, here's a test that I did for a project in the past. And I have this hobby or this habit rather of going through and shooting just on my iPhone, real basic. It probably looks insane to other people. This is a shot list I have in my head, but I use this as reference and I turn that into something like this. So this was the final product. And you can see where some of those shots come back in. But that first process, right, of doing shots from my phone, to me, it really helps make sure my edits are going to piece it all together. So bringing it back into Firefly, I look at this and I go, "These aren't the exact shots I have in mind." There is an incredible tool here called Composition and let it describe itself for you. It adds a reference image to match its general outline and depth, effectively saying it's going to match the general structure of the frame. So I'm going to choose something impossible here, like this road, this road going down the middle. Now you might say, "Okay, well, how is it going to do that?" And you'll see this won't be perfect because that's not the best reference to what I'm doing here. But if you look at that frame, it has a big vertical line going up the middle, and you see how it takes some ideas and does that. Here's a car crash on the bottom right or the road right up the middle. It's the actual guy at the top. Interesting.

What I've done is I went out with my friend and I just got an iPhone photo. Super basic iPhone photo, unedited. This is the frame that I want, right? So I'm going to upload this image.

It says-- By the way helps you with particular outline and depth. This feature you must have the rights to use any third-party images. This is awesome. This is your friend. We're going to talk about that later. But that is my image. I do have the rights to use it. We hit Generate and boom.

Interesting, right? Now we're able to get a little bit more specific. And by the way, if we spend all day on this together, I can change things. I can change the car, I can make it at nighttime. I can get more specific, as specific as you want. In fact, if you try to use Adobe Firefly and you're too vague, it actually will say, "Hey, if you say basketball hoop," it'll say, "Provide a little bit more of a scene," but it just gets thought provoking, right? Now let's say, okay, AJ, well, that's fine, but maybe I have a scene that isn't so easy for me to photograph and go out with a friend. To which I'd say, "Why are you being so difficult, man?" But I had a music video I wanted to do, and I'm no great artist, but check this out.

This was a scene I had in my music video. I wanted these two people playing beer pong at a house party, right? Not the most descriptive drawing ever, but what I can do is I can say, "Man and woman smiling, playing-- Beer pong in a crowded house party." And I'm going to upload this as the reference image. Now keep in mind, I could give them just a little scribble like this, but maybe I want to show it's a warm summer afternoon or whatever. It's really, really good at doing it, and you can just generate all day long and get more specific and make it. But it gives you a much better visual of what you're doing. Just thought provoking ways to think about this. And if we continue going down, you can even inject certain styles into this. Maybe there's a frame that you like that has a particular color reference. It has some options right here and an even bigger gallery. This one is extra punchy, right? So we have some pink and blue neon lighting that's circle light. If I include that as a style reference, you can see it includes it right down there. I hit Generate...

and it's going to give me some stuff that's now in that style.

So you can even think-- you can keep in mind like you can upload your own stylistic references, right? And then there are effects here. I'm going for photos, but you can also make it look like painting or digital art. You can select a tone here. That's all your own. You can choose certain kinds of lighting, even set a camera angle if your sketch isn't quite as fantastic as mine. But these are just some really, really cool ways to begin thinking about how to use this in your decks and your treatments, or even just getting your shots out into a shot list. I was really blown away with this, so I hope it just gets you thinking about it, right? Okay, cool. So that's Firefly.

That's pre-production. Let's move into production stuff now. So in my world, production is a lot about enhancing locations, but it also can be used to generate props and really, really get helpful when it comes to saving time on set. So last year I did a little thing all about how it can enhance locations, and I went around Los Angeles and with nothing but me and my tripod, free locations I didn't pay for, showed how you can reimagine them into other things. And even a little motion shake at the end really sells the effect. Some of them are really, really great. This was on a wall that was 4 or 5 feet off the ground. Do that. Cut to wide, black socks. Always a winning move.

Cut to wide. Now it's on a big hill. This is one of my favorite ones. I was crawling like an insane person on the sand. This is the PCH. There was a whole family just watching me as I did this. But you turn it into-- It's really powerful, right? But enhancing props is just the beginning, you know? You can really incorporate it into your story. Yeah, I don't know why I put myself in this position. A lot of on the ground, I'm realizing is as I look at this.

One of the great ways that you can use this too is you can use it to eliminate distractions. Who knows what greeking something is on set? Has anyone ever heard that term? Yeah, what's greeking something? Greeking. Generalizing. That's a little more specific than that.

Taken out? Yeah. Taking things out, removing distractions. Oftentimes copyrighted things, if you don't have the right to use it, or just taking out just things that would be a red exit sign, for example, in the back, just taking it out, taking it out. We spend so much time and money on set doing this. Sometimes teams of people to do it. And it's really important because as simple as it is to just black things out or wait for that distraction to go or wait for that billboard to change or turn something the other way, it just takes something super small to distract you from a really powerful performance, and it doesn't take much at all. I was looking through my old footage again to see if I had an example of something where I wish I had this tool, and I did. I found this monologue that I captured really riveting performance. See if you can spot the little distraction that just your eye will go to it.

[Man] She doesn't remember me.

I walked in and I said, "Hey, Mom." And she doesn't know who I am.

Then I know that the doctor said that there would be a little bit of time for this, but I've been calling you, trying really, really hard, and I feel like you're not there, and I can't do this by myself, you know? How often has that happened to you? Pesci. Pesci. Well, now on set. I don't have to worry about that anymore. Easy, easy. I did go a little dark in that in hindsight. Also, I will admit, when I filmed that, I hadn't really realized I was going to play this at the Miami Convention Center.

I just got a clown outfit. So here I have this sequence with it right here. And here I have myself creeping in. So just to show you, this is a big thing to take out, right? So I'm going to find a frame here and I'm going to show you how easy this is. And we're going to do it live. It's the same general technique I used last year. We're going to start by just exporting a frame. And if you don't use it there's a little shortcut button here. But there is a very important step here. The default is a JPEG, which I'm going to do, but I'm going to do a second one here. And this works as a TIFF. You always want to select it as a TIFF. And I'll explain why. They're different compressions. But if you look let me just hide this.

Here's the JPEG, here's the TIFF. See the little color difference there? You want to do it as if you're using it for this, you know? I'm going to go into Photoshop and let's grab the TIFF. Go in there and delete TIFF. Distract me. And here I have my frame. So what I'm going to do is I'm going to just select the area that is the part that I want to take out.

And then even further than this, I'm going to go extra aggressive. I actually think this is distracting me right here. So I'm going to go all the way here. And luckily, Greg doesn't move that much. But we're going to go just do a shoulder and back there. If you ever want to add to that selection, by the way, a keyboard shortcut that I think is slept on is the Option tool, that little minus helps remove. The Shift tool adds, if nothing else, that if you don't know that that can make your MAX. Just that. I use that all the time. So I have my selection. I'm not even going to give it a tip. I'm just going to say Generate and I always will generate twice on this. Usually I'm pretty impressed by what it gives me, but I've gotten into the habit of just generate twice because you never know what you can get. So here, there, that looks pretty good right there. That looks pretty good right there. I'm going to do it twice because that's what I do. I'm going to find the one that we like best.

And this is so easy. I'm going to do it fast for this, but you can spend a whole afternoon refining stuff. So here we go. We have a bunch of different options, right? Oh, which one? Oh, I don't know. What do you think? Okay, cool. As we go here, you'll notice that it popped it out as its own layer, which is really nice. Makes it very easy to toggle on and off. And even for-- I know. Why do I-- I'm a silly man. I also, if I toggle off the base layer, you'll notice that it actually feathers the edge a little bit automatically. It makes it really easy to lay on top, right? So now I'm going to File, Export this thing. But I'm going to export it as I'm going to save a copy. I won't even do it that way. I'll do it this way. And you don't want to do a TIFF this time because that's going to just fill in the transparent part with color. Instead, I want to do a PNG because that saves that transparency. So I'll do the same frame and be transparent. And with Adobe today, we're going to do good file management I'm going to call it AJCOVER.png. Great. Yes. Awesome. Hide Photoshop. Here we have it. And if you look on this file now, see how it saved the transparency. So it's like the same exact frame size. All I have to do is take that AJCOVER, drop it on top of my footage.

Drag it over the whole thing.

- And now-- - She doesn't remember me.

You would have no idea. Oh, I know that the doctor said that there would be a little bit of time for this, but I've been calling you. And one thing I've even learned that helps it even more, if you just want to sell the effect that it's one thing is you can nest. And I showed this in that last little sequence I did, nest it so now it's all one clip. So any adjustments I make now to one it's going to make to the other. So if I keyframe in, it's going to keyframe on both where actually there's some plugins. This one I found it's free. It's like this. They call it the Deadpool Handheld Camera Presets. You can just download it super, super easy. Drag that on top of it.

- Then I know-- - Super subtle, right? But you-- Oh, I know that the doctor said that there would be a little bit of time for this, but I've been calling you.

Tiny, tiny little movements. And for some reason, I don't know why it is with the brain, if something is static and you see a visual effect, your brain just detects something, just a little bit of movement. And that is so much harder to do to comp like a handheld thing. You're just so much more forgiving with it. So that's just one example. Okay, cool. You can use it, great, to clean up distractions. You can do it to extend your frame. You can do it to Greek stuff out. Fine, fine, fine. I think it gets the most fun by a mile when you use it creatively when you shoot for it, right? So I was actually looking through some old footage that I could have put something on a table or that or something that wasn't there. And I got this idea super last minute. So like 48 hours before I flew out here, I just went out with a friend. No lighting, just my little Canon. We went to an alleyway and we shot this.

[Hayley] That's him.

Pop the trunk. Wait here.

[Greg] Sandy, how's the family? [Sandy] Enough. You got the thing? Oh, so quick.

Did you bring what I asked for? There's nothing there. Forgetful.

Let's give him something. So I'm going to go into Premiere here, and you're going to see that the process for this is the same deal. So I have my sequence here and I just cut out already this clip, so it's easy to find. And we're going to really do the same thing. I'm going to export a still frame. We're going to make it a TIFF. I'm going to call it Trunk.

And here it is. We're going to pop this into Photoshop. And this is a tricky frame for a couple different reasons. One, the lighting is weird, right? We're in this alley. We have some warm light and some cool light. There's also this perception of depth going into the trunk as well. So I'm going to do this. No, no Wacom tablet. Just with my hand on my laptop, I'm going to select the area of my trunk.

And then what's nice about this is again I can just use my Option tool or my Shift tool and just clean it up a little bit. But I'm going to leave that there. Let's see what the walls of the trunk.

Let's give them something that goes in the trunk. I'm going to do groceries in brown paper bags.

Let's see, now I do find when you're doing something that's a little bit darker, you're comping into like a darker frame or generating rather into a darker frame, it will generally go a little bit lighter, but that's okay because it's really easy. I'm going to generate twice because I always do, but that's already pretty funny.

And because it's on its own layer, we'll see this. See what we got. Okay, nice. Oh, we got a little baguette. That's amazing. I'm liking that one. What do we think. That one? Okay, cool. Now you look in this frame and you go, okay, first of all, the depth, the shadows, it works. But the tone isn't 100% there because this is a very weird flat tone. So I'm just going to very quickly because keep in mind here what I'm doing, I'll show it to you before I jump in layers, right? So we have the layer right here. And here are the layer is by itself. So with that layer selected, let's just-- I'm going to do this real fast. Go into our levels and let's just maybe drag down the mids a little bit, get it slightly darker. Maybe bring down the size a little bit. Okay. Now you'll say, "But look, ooh, it kind of got that surrounding area as well," right? Well, we're going to do this just pretty fast. But right around there. Oh, no this is-- I was going to say this, but I think this is actually really important. A lot of people when they're doing stuff with sliders and this is just my personal opinion, they spend a lot of time thinking about the numbers and a good way I have found to combat this, and I do this almost all the time, is I will take the slider, I will ignore the number and I'll just look at the image and I will on purpose go way too bright, way too dark, bright dark, and I just find where it looks right to me and let go. And then wherever it is 0.79. If I was focusing too much on the number, I might go 7.5 or 8. I feel that's a great way to do it. So any time I'm working with a slider, I always, always do that. So here we are and we have it right there. And because it is its own layer and that background is pretty, pretty separated, I'm just going to use the Magic Wand tool. Select this.

And I'll rasterize the layer make it editable. Just really quickly. Just take my Eraser tool. And just I don't know, clean up the-- so it fits in real nice, and leafy greens. I'll give it some space. Boom. Great. Done. And now it will fit in a little bit better. I did overkill there. That's fine.

There you go. So now I'm going to do the same thing, right? I'm going to export as a PNG...

to groceries. Done. Hide this. Go back into Premiere.

Plop it right on top.

There you go.

And it's the same thing, too, because the rest of the sequence is a little handheld. I can nest this. I can throw that little plugin I have. This was a free one, too, but there's tons of them out there.

Five seconds, you know? And that was just-- You can generate all day long. So it gets really fun when you start thinking about how you can shoot for it. So here's what that might look like if we spend a little bit more time on it.

So quick.

Did you bring what I asked for? There's nothing there. Look again.

- Nice. - Look again.

- Nice. - Look again.

- Nice. - Look again.

- Nice. - Look again.

Nice.

Nice doing business with you.

- Tell Mom I said hi. - Let go.

So to just get you thinking, right? It's not just a-- Oh, thank you. Thank you. These are my friends. Just to give them a shoutout. Greg and Hayley, thank you so much for helping me out and doing my very, very silly, silly project. Okay. In post-production, this is now looking a little bit more into the future, and you're going to hear a lot about these things, but did anyone catch that snake's video that came out a little while ago about the stuff that's coming to Premiere? Insane. The stuff that we did here was on a tripod, and then I had to add that movement back in. But they're bringing a lot of these features into Premiere, so there's going to be things like Edit Timing and Object Addition and B-roll, really, really exciting things. Things like Generative Extend or even just being able to use other engines and bring it in. So if honestly, true story here. I forgot to get the shot of the car coming to a stop. So I had to call my buddy and say, "Will you please put on that ridiculous suit again? I just need to get one shot." You could just generate B-roll, close up tire coming to a stop, and it would do such a good job of that. But before I send you all off to just be like GenAI masters, there's one last part of the conversation that I think you have to talk about, and it's the conversation about ethics because it's not going anywhere. And even if this is the greatest tool to ever come in our lifetimes, I think ethics are really important. In the same way that rules are set around digital privacy or even driving a car, and there's a term that you're going to start hearing a lot more about called ethically trained. So what does that mean? Well, this is a big, big point of conversation. But there are four really, really big reasons as a creative and I have a bunch of creative friends where I'm super proud to be working with Adobe at this point in their career and be a proponent of these tools. There's four big reasons. The first one is that it's never trained on any web or customer media. What that means is with these engines, obviously they get more and more powerful the more stuff that you let them train on, right? And a lot of these engines, they can just mine the Internet to get as much data as possible. It's easy to do that. Adobe chooses not to do that. And it's only doing stuff that's safe. There is a story I remember that's a great example of this, of this artist that had a particular style and someone wanted to generate art of that style, and he noticed that in the corner of the frame, he noticed some of these generations had versions of his signature on it, and it was like, "You've been training off of that." None of that with Adobe, which to me feels way, way, way cleaner. Number two-- Oh, and the customer media thing even cooler. Not only are they not using our stuff to train what they're on, but if you are, they'll pay you for it and it doesn't happen by accident. It's not a thing you'll opt into by accident. So really, really cool. Two, they never claim ownership out of any of this stuff just because you're using their tools. Some people are a little bit predatory and sneaky. Nope. It's all your stuff. Number three, it's designed to not infringe on copyright. So as cool as it would be to just generate Mickey Mouse writing on a rocket ship, it's trained to not do that. And that means that when I use this for my commercial projects, I can just relax. I'm not aware of every copyright out there, but it's avoiding stuff like that for me, which is killer and makes me feel like I can use it professionally. And lastly, they founded the Content Authenticity Initiative. A lot of words. Does anyone know what that is? What's your name? Simon. That's exactly right. Metadata to let you know if it's AI generated. We're going to enter a real exciting year, folks, with a lot of media. And as AI gets continuously more and more and more prolific, yeah, to everybody, it's going to be hard to distinguish between the two. And Adobe is working with people and social media companies, a lot of people to-- They're using the term like a nutrition label to make it really clear if what you're looking at is AI enhanced in any way. And I'm going to be super frank with you here, just as me as an individual. I don't think Adobe doing this makes them a hero, but I do think it makes them right. This is the Wild West out here. There's a lot of companies that aren't doing this, and it's something to look out for. And the fact that Adobe is electively taking on these guidelines in their own development just makes me feel like their heart's in the right place, and they're looking out for creatives. And it's a big part of the reason why I feel comfortable standing up here, right? So okay, with all that, that was a lot. I will end on this. I am genuinely to my core so honored to be here at MAX. If you want to see any more of what I do, that's my social media. I do a lot of really dope stuff in the last couple of weeks. I just got back from NASA at Cape Canaveral. I was shooting the Crew-9 rocket launch at the International Space Station, and before that I was with the Secretary of Defense at the Pentagon. That was bananas. And I have a talk at 4:45 at the Creative Park, where I'm just going to be talking about how I went from doing shoots for small businesses, family, friends, then worked my way into larger commercial projects. Just the stuff that I wish someone would have told me like a normal person as I was trying to level up my productions. And with that, I hope you found some of this useful, thought-provoking. Please do something nice for a stranger today, and have a wonderful rest of your MAX.

[Music]

In-Person On-Demand Session

Shooting for Generative AI: From Pre- to Post-Production - S6615

Sign in
ON DEMAND

Closed captions in English will be added in early November.

Share this page

Speakers

Featured Products

Session Resources

No resources available for this session

About the Session

Generative AI offers endless possibilities to reimagine your existing work, but shooting for generative AI opens a whole new world of creative storytelling. In this session, DGA Director and commercial photographer AJ Bleyer explores the power of generative AI as a narrative tool and shares techniques on how to begin incorporating it into your creative approach from the very start.

In this session, AJ will teach you:

  • How to make the most of generative AI when drafting your creative
  • Techniques and best practices when shooting for generative AI
  • Pro tips on how to get the best results when working with generative AI in Photoshop and Adobe Premiere Pro

Technical Level: Beginner, Intermediate

Category: Generative AI

Track: Video, Audio, and Motion

Audience: Art/Creative Director, Educator, Government, Graphic Designer, Photographer, Post-Production Professional

This content is copyrighted by Adobe Inc. Any recording and posting of this content is strictly prohibited.


By accessing resources linked on this page ("Session Resources"), you agree that 1. Resources are Sample Files per our Terms of Use and 2. you will use Session Resources solely as directed by the applicable speaker.

Not sure which apps are best for you?

Take a minute. We’ll help you figure it out.