Click on any phrase to play the video from that point.
[ADOBE TV Presents, Short and Suite]
[Mechanical noises]
[Jason Levine]
[Karl Soule]
[Mechanical noises]
[Short and Suite, On the Road with Jason and Karl]
[Adobe Story is a part of CS Live. Cs Live is complimentary for a limited time]
[see www.adobe.com/go/cslive for details]
[Truck Cam-B033]
Hi, this is Karl Soule, technical evangelist for Adobe Systems.
Today we're going to be talking about a new tool called Adobe Story.
Once you're inside of Adobe Story, you have
the option of downloading a desktop
application version of Story.
And to get to that, I'm actually running that right now.
This is the desktop application version.
But if you're working in a web browser and you want to go into the
desktop version of Story, you can go in and click
on the Projects, and down at the bottom here you'll see this is
grayed out because I'm already running the desktop app.
But on the online version, we can go in and we can actually install a desktop application version.
The basic idea behind working with Story is,
to start with, any documents that you have related to
the project you're working on can all be organized
inside of a single Story project.
So right now, I've got a project open called 'Palladin.'
Within this, I have a whole series of different scripts.
I can also have character bios and other types
of documents all contained within a single project.
So let me go ahead and create a new project, here.
And we're going to call this one 'Short and Suite.'
And you'll notice I have an option here to go ahead and create and open a blank script.
Let's go ahead and turn that off for now.
When I do this, I have an empty project that I can work with.
And again, I can have many, many different documents kept within one project.
So from here, when I click on 'New,' I have the option of
creating a traditional film script.
We can also create an audio visual script.
Now this is the type of script that you see; it's a 2-column script
where we have things like Narrative
over on one side and we have Actions of what's going on in the scenes on another side.
We can also do more open-ended formats,
such as a research document, a pitch,
log lines, character bios.
These are all other types of documents that are
not necessarily as format-heavy, as
the type of script that you might want to work on.
If I want to create a film script, I can go ahead and select 'Film Script' here,
give this one a title.
We'll just call this one 'S and S--Short and Suite, Episode 25.'
All right, so when we create a new script inside of Story,
it's automatically created a title page here, but we're going to go ahead and get rid of that.
I'm just going to go and turn that off by removing the title page
up here in the menu.
And I can go ahead and get started writing my
wonderful script here.
As I'm writing, if I hit the Enter key at any point,
I can choose exactly what part of my script
that I am going to be putting together.
So if I'm working on a scene, I can choose to
start with a scene heading.
And there's something built into Story called 'Smart Typing.'
And the idea behind this is if I start with--
we're shooting inside the truck today, so I can start by saying this is an interior scene.
It's automatically given me the abbreviation for interior,
and now I can
type in the location of this.
I can say this is 'inside production truck.'
Now, of course, us in the production truck here, we never really know what time it is,
but if I wanted to I could add a time of day
as to when this is happening.
So we'll go ahead and say 'this is morning.'
And when I hit the Enter key again, if you look in the
upper right corner here, you'll see that this is
automatically switched over to an action.
So now as I start typing, I can say
'Karl enters the production truck.'
And if I hit Enter again, maybe I want to
add a character name here again.
We'll just add 'Karl.'
And now you'll notice that this is automatically switched to Dialog Mode here.
So as I'm writing my screenplay, this is automatically kind of filling in the gaps for me.
It's helping in the entire process of writing my screenplay
to just make things flow a little bit faster
and to help me maintain my
formatting of my screenplay.
So now I can add some dialog here.
And let's do a new scene here.
So we'll go ahead and do a new scene heading.
And again, we'll choose--this is an interior sequence.
And this time, when I go to create
the location of this you'll notice it's automatically given
me a list of the previous scene location.
So as I'm going through and I'm creating different scenes,
Story will make sure that those are named consistently.
So when it's time to go through and set up
the different scenes for the different shots, I can go through
and make sure I can shoot them all.
A lot of times you want to shoot out of sequence; you want to take and utilize the set
while you're there, get all the scenes necessary done.
So this will make sure that everything is named properly as we're writing through it.
And we also have the ability to go through and generate
what are called 'Breakdown Reports.'
So we can go through and we can generate things like a scene report.
These output to a .csv file,
so you can open these up inside something like Microsoft Excel
or anything that will work with a .csv file.
It works with spreadsheets.
So we can go through and we can break down our scenes doing
breakdowns, generate these reports directly from within Story.
We also have some other options.
One of those is the ability to actually share documents.
So I can come through here and I can choose to share this with somebody.
And I can give them different rights within the document.
So I can come in here and type in an email address
and give somebody the ability to review a document
and add notes, give them co-author status.
This is a nice way they can go through and
actually rewrite scenes as necessary,
or if I just need somebody to read this.
The best thing about this is all they need to be able
to access my document is they just need the url
that's going to be provided in the email.
They just click on that, and since all of the scripts that I'm working on
are actually synchronized automatically up in the cloud,
all they have to do is open up a web browser and they have the ability to
go in and look at the scripts that we're working with.
Now if I come out of here--let me go back to a
different project that I have going on here--and
open up just kind of a larger script, just so you
can see some things that are going on here.
This particular script we've gone through, and
you'll see that there's an outline that's been generated.
This is an automatic function from within Story.
And these nice little colored dots here actually go through
and they tell me which characters are in each of the different scenes.
If I roll over each of these different dots I can
see that this bright red dot represents kid
number two in the screenplay.
The darker red dot represents kid number one, and this
blue dot represents the hero.
I can see that the hero is also in the tower room sequence up here.
So these dots are automatically assigned.
Now within one project, again, we can have many, many different documents.
So if I decide I want to take the hero, and I want to do a
character bio for the hero, I can come up here
into my projects and choose
a new document, choose a new character bio.
and I can give this one a title here.
We'll call this one 'Hero,' to match our script.
And now, again, I'm presented with a blank sheet of paper.
And this is kind of a free-form document.
This doesn't have any particular formatting to it, but
this document is going to live within the same project.
So if I come back up here into projects, you'll see that we now have a
character bio called 'Hero.'
And you'll notice that each of these different documents right now has a little green
dot next to the document.
What this means is the local copies of all of my documents--
yes, there are local copies that exist within
this error application--these local copies are
currently synchronized and everything that's up online
is the same as what I have locally on my system.
These dots represent what the state of each of the documents
are just in case I go through and I go into an offline mode.
Let's say I want to continue to write on an airplane or someplace where I don't have connectivity.
I can go ahead and keep doing that.
Story will keep a local copy of the document
in kind of a secure location on your system.
The only way to access it is you have to actually go in and
log into Story using your Adobe ID.
And as soon as I go back online, these documents--
a little dialog box will pop up and ask how I want to synchronize my documents.
So, we have some nice ways of working offline with this, as well.
Now finally, once I'm done working in Story and I've got my script,
I've got my character bios,
the scripts are actually designed where we can go through
and we can save these out in a special
file format that is readable
by some of the other tools inside of Production Premium.
So if I come back into my authoring view here and I go to my Palladin script--
if I want to save this out and use
this and hand this off to the person who is going to be shooting,
again, we can do breakdowns, but we can also save this out
and export this into a special Adobe Story
script format.
And the Adobe Story script format, this takes the script
and breaks it up into an XML-based format.
This is something that some of the other tools inside of
Production Premium can actually read.
So for somebody who's shooting or on set shooting,
they can use all the different scene headings
and have placeholders for each of the different scenes
and they can do further things with that where they can break out a scene into different shots
using a tool like Adobe On Location.
Inside of Premiere Pro, we can
utilize the dialog that's in the script
so that if we want to be able to search
word-for-word within the dialog in the script and have that match up
to the actual spoken dialog in
the shot assets, we can use that for editing purposes
by using a feature called Script Alignment,
where we can analyze the spoken word in clips
and align it with the script information
that's found in that ASTX file.
And once you do this, once you take advantage of this,
again, that information stays with those video assets.
So if you're shooting from a script, taking your
existing script, bringing something into Story, or writing your script inside of Story
really makes a lot of sens.
Oh, one last thing before I go.
There is also a feature built into Story
that enables me to go through and show you
the shot duration.
So I can actually see, based on the length per page--
there's kind of a standard number that's used of how much time
each page in a screenplay is going to take up
within the finished project.
So that information is all built right into Story,
and by coming in and choosing 'View Shot Duration'
and choose 'Shot Duration,' I can actually see what each
of these different scenes--this scene, just based on the amount
of text that's listed here--it's estimating around
21 seconds for this scene to happen.
If I come down here a little bit further, this particular
scene is actually clocking in at
2 minutes and 14 seconds for this particular scene.
That's based on the fact that this scene has a lot of dialog,
and it goes on for several pages here.
So if you're trying to estimate how long a given scene
is going to be in your screenplay, you can kind of
figure this out based on these numbers.
These are just estimates, but they're estimates based on
some data that Hollywood traditionally follows
when they're looking and analyzing screenplays.
So we try and keep it fairly accurate here.
So hopefully that's just a quick overview of some of the features inside of Adobe Story.
Hope you found that interesting.
Once again, my name is Karl Soule.
If you'd like to follow me on Twitter, my Twitter address is simply
my first and last name, Karl Soule, all run together.
[twitter: karlsoule, blog: http://blogs.adobe.com/videoroad]
I also have a blog available on blogs.adobe.com/videoroad.
Thanks again for watching.
[Executive Producer, Bob Donlon; Producer, Karl Miller'
[Director, Kush Amerasinghe; Post Production, Erik Espera]
[ADOBE TV Productions, tv.adobe.com]
