Results tagged “adobe premiere pro”
Reactor 88 is an independent production company based near Chicago with a unique focus on creating films based on role-playing game narratives. The company’s first production, InSpectres was released in September 2013 and the team is hard at work on their second film, Dead News Report. We spoke with Darren Orange, CEO of Reactor 88, about their films, their inspiration, and their tools.
What drew you into filmmaking?
It was a complete accident. I wanted to make video games originally, but when I made a short film to illustrate the concept for a video game idea, I got hooked on the filmmaking part. I dropped my game aspirations and start making movies. I made a lot of short films at first and it grew from there. I will never forget my first project. The weather was extremely cold and we were all in shorts and t-shirts but I had such a blast working with my team. It brought home to me how collaborative filmmaking is. I realized I would never have experiences like this in video game work – fun though that must be, too.
What is it about role-playing games that provides great content for films?
Role-playing games at their core have always been more about telling stories than about creating worlds. And for me personally, as a filmmaker it makes sense to me to focus on telling great stories. There are a lot of other creative people in the role-playing game world who are passionate about creating the worlds. I am comfortable relying on their talents and putting my efforts into the characters and how the narrative unfolds from their personalities. This is another example of the collaborative aspect of filmmaking that I love.
How long have you been using Adobe Premiere Pro?
I’ve used Adobe Premiere since 1999. I started on version 5.1 or 5.0. I originally learned how to use the software to create anime music videos. Only after that did I realize I could make any kind of film this way. Learning to edit was amazingly liberating: I realized what kind of power this put into my hands. Later on I drifted over to Final Cut, but I’m back with Premiere Pro now.
What made you switch back to Premiere Pro?
To be honest it’s kind of hard to say why I ever left Premiere Pro. I think maybe it was just peer pressure. I came back because Premiere started to support so many different native formats, including H.264, which we used to shoot InSpectres. It was so much easier to work in Premiere Pro than it was in the other software. I’m glad to say that I’m staying with Premiere Pro now for good: it’s just the best editing platform out there, no question. Adobe has done a fantastic job at pushing development and making the Creative Cloud video tools into the most capable, the most dynamic, and the most complete workflow solution there is.
You used Adobe Audition extensively on InSpectres.
Yes we used Audition for pretty much all the sound for InSpectres, from sweetening the audio recorded on location to adding sound effects to the final mix and 5.1 surround sound for our DCP for our theatrical release. We worked in Audition over an eight-month period and it was a great experience. We pushed the limits of our hardware, but the software could just keep on going. The most impressive thing for me was the noise reduction, which allowed us to retain over 90% of our location sound: it was a massive time and cost saver. But it also matters to me as a director to be able to use as much of our original audio as possible.
Was it hard for you as a video editor to get used to Audition?
Audition was easy for me to pick up and learn. It felt like I was editing video so I found the transition was very easy. My co-producer Sean Czaja has lots of experience doing sound work and he was also able to get up to speed in Audition very quickly.
Sean also did all of our visual effects shots for InSpectres in After Effects.
In your next film you are moving to an all Creative Cloud workflow. What led to that decision?
I don’t want to have to worry about which applications will work with which, or whether they will support industry standard formats and cameras. And I need support I can count on, no question. Simply put: Adobe rocks when it comes to working with everything out there on the market and the community around Adobe is like none other. Another thing that matters to me, which many filmmakers seem to forget about, is that, at some point, you are going to have to archive your work. Do you want to archive your work across all kinds of different software and be unsure of future support? Again, Adobe is the clear choice for me.
Tell us about your next project.
Dead News Report is a post-apocalyptic story about a group of survivors trying to reach a news station which they discover is still broadcasting. This film has been a long time coming. The original concept was created by my mentor Bill Allan back in 2002. Since then, a lot of things have changed: it’s no longer a kind of newsroom drama, but much more of an epic story. While there are zombies in the picture, the film focuses on the characters. The story is all about people finding their purpose in life and how that purpose can affect others.
Is it hard to move from comedy to such intense drama?
Not really. I generally lean towards more serious work anyway. That being said Dead News Report is going to be challenging for the actors in terms of where they need to go emotionally. I try to learn everything I can about everything involved with the film. This includes researching real-world examples of the emotions that the characters experience. I think as a director not only do you need to be technically excellent and really connect with the actors, but you really need to feel what the actors are going though. It’s a kind of empathy, getting that connection with the performance and helping the actors get there by understanding how the things that they are experiencing would affect people in real life.
Where do you hope to go with Reactor 88?
We have a whole slate of films that we would like to produce. We have a very pragmatic strategy. We want to keep our focus on turning games into movies. The feature after Dead News Report gets back to that and we already have the first draft for that script. Going forward I hope we will evolve into a preeminent intellectual property production company.
What would you advise someone who is considering moving to the Creative Cloud production tools?
What are you waiting for? Take everything you’re doing now and just plug it in. The system is designed to support your workflow at any stage. Take any scripts or concepts and get them into Adobe Story and go from there. It’s so nice having every part of pre-production to postproduction all in one place and knowing that all the pieces will work seamlessly with each other. It runs on OSX or PC and there is even a free version of Story. Get started now, there’s no excuse!
Darren Orange has been a Creative Cloud member since July 2013. He is the founder of Reactor 88 and has been at the head of its production development since 2003.
To learn more about Reactor 88 visit www.r88s.com
Learn more about Adobe Creative Cloud
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What prompted the move to Adobe Creative Cloud for teams?
Our post‐production team in Los Angeles used to use Final Cut Pro and recently decided to switch to Adobe Premiere Pro for better functionality and integration. I had been looking for an excuse to try out Adobe Creative Cloud for teams, and this seemed like the perfect opportunity. It made sense for us to make the change after weighing the cost and access to a variety of video apps and services. We’re starting out with 27 licenses for our post‐production team, with plans to expand to other groups in the future.
Did you have any concerns about moving to Creative Cloud for teams?
Not really. We were worried at first about a SaaS offering, but all of the software is fully downloadable. It’s the same rich client that everyone’s familiar with, not a watered‐down version of the software. Because we keep a lean IT staff, the teams version actually helps us and allows users to add and remove seats as needed.
What would you say are the IT benefits of running Adobe Creative Cloud for teams?
In IT, it seems there is a constant struggle to make license management easier. I remember a time, not long ago, when I’d be searching high and low for discs with stickers, or papers stuffed in drawers, or trying to administer through an online portal, and it was always difficult to tell which vendor we purchased from, which team we purchased for, and when software was due for renewal. Moving licenses around was also a hassle. There was constant concern that costly software licenses might sit somewhere unused. With Creative Cloud for teams, the Admin Console interface is very straightforward. It’s easy to administer and assign others to administer. Team leads can be assigned to manage their own groups. It’s great, and I’m happy we’ve gone in this direction.
How does this compare to how you used to buy software?
IT used to be pretty locked down. We have a dispersed workforce so emailing license keys and sending discs through the mail is a practice we try to avoid. With Creative Cloud for teams, compliance is a lot easier. Downloading the needed Creative Suite software is simple, as is the ability to inventory installed software. With the move to cloud, it’s common to pay a monthly subscription for almost everything. It’s a model we’re used to, and it’s much easier to keep our software up‐to‐date.
How has the post‐production team responded to the switch to Adobe Premiere Pro and Adobe Creative Cloud for teams?
Our teams are happy with the move. With all the offerings, we encourage our editors and designers to download new software and try it out. It’s an interesting scenario because it’s no longer IT dictating which products teams can have; it’s now the teams telling IT which products fit their needs. This is a great way to promote creativity and productivity.
How are staff members reacting to the storage and collaboration capabilities of Adobe Creative Cloud for teams?
We’ve seen a lot more collaboration across multiple locations. I think we’ve used every collaboration tool available, and everybody understands the benefits of saving and sharing files through the cloud. The most interesting thing to see moving forward, as people get used to the software, is how workflows will evolve. I think we’re just beginning to scratch the surface of what we’ll be able to do, and I look forward to seeing what people discover as they dig deeper into Creative Cloud for teams.
Adobe’s product teams are keenly aware of a creative professional’s desire to experience the highest quality creation experience. That is why I am delighted to announce our plans to optimize a selection of our products to display your content and creations on HiDPI displays, including the Retina Display available on the new MacBook Pro. Over the next few months, key Adobe products will deliver HiDPI display support to all customers on current releases.
HiDPI displays allow for a dramatic improvement in image fidelity and resolution. Naturally, designers, photographers and creative professionals want to take full advantage of this new technology. Software that is not native to HiDPI display uses interpolation to duplicate pixels to fill the screen, meaning text is not as sharp and images don’t have as much detail. The increased resolution of these displays requires that each product update the interface of the application and ensure that the content or the creation itself is displayed accurately with the appropriate level of fidelity. As an example, to enable HiDPI display support in Photoshop requires the replacement of 2500 icons and cursors and other engineering work which will be complete and ready for customers this Fall. This resolution shift in the new display technology presents unique challenges to teams that support bitmap, vector or video content. Therefore each product team will be releasing support for HiDPI display for Apple’s Retina Display as soon as the development is complete and tested for each individual product.
We expect to update the following products with HiDPI support, free to all CS6 and Creative Cloud customers, over the next few months:
Adobe Premiere Pro
We are currently evaluating the roadmap for when other products may support HiDPI displays, and we will announce those plans as they are finalized.
At Adobe we work hard to support the latest innovations. We will continue to release security patches, bug fixes and support new hardware changes, like HiDPI display support, to all of our customers outside of our regular development cycles just as we have always done. Additionally, with Creative Cloud we now have the opportunity to release new features as they are ready, outside of major release cycles. On August 28, Illustrator released several features exclusively to Creative Cloud members. I am excited to announce that beginning this Fall, even more our flagship products, including Photoshop, will begin to release features exclusively to Creative Cloud members. Creative Cloud members will be able to enjoy the latest product enhancements as they are ready without having to wait for major product releases.
This is an exciting time. Stay tuned over the next few months for more exciting developments to come.
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