APPLE
When Steve Jobs returned to Apple in 1997, he had a very specific side mission: reinvent post-production — and kill Avid in the process. To do so, he formed the Apple Pro Apps Division, focused on building the tools that would democratize editing, motion graphics, and media creation.
Our studio, Core Audio Visual, became a kind of off-campus skunkworks — a black ops group tasked with testing, breaking, and imagining what the Pro Apps platform could be. From software development to market strategy, we worked closely with Apple to accelerate adoption and prove creative viability.
Our work spanned across special projects and high-profile experiments — including collaborations with Karl Lagerfeld, Gucci, and General Motors. The GM campaign was the first nationally broadcast commercial produced entirely within Apple’s emerging workflow — from edit to color correction.
When Jobs saw it, he asked a simple question:
The answer was no, they were not.
Our studio, Core Audio Visual, became a kind of off-campus skunkworks — a black ops group tasked with testing, breaking, and imagining what the Pro Apps platform could be. From software development to market strategy, we worked closely with Apple to accelerate adoption and prove creative viability.
Our work spanned across special projects and high-profile experiments — including collaborations with Karl Lagerfeld, Gucci, and General Motors. The GM campaign was the first nationally broadcast commercial produced entirely within Apple’s emerging workflow — from edit to color correction.
When Jobs saw it, he asked a simple question:
“Are our commercials made on a Mac?”
The answer was no, they were not.