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Combining theatrical sensibilities with digital video to deliver stunning live events with Adobe Creative Cloud
From musical performances to runway shows, more and more live events are incorporating high-tech video displays to take the experience to the next level. Nick Dew and Jack James combined their video and theater backgrounds to found Really Creative Media, a London-based agency that specializes in digital and live production. The company uses Adobe Creative Cloud to craft video, lighting, and audio content that helps pop stars, fashion houses, and film premieres shine. Recently, the team brought their magic to the Queen + Adam Lambert tour, allowing the rock legends to honor their late band mate Freddie Mercury.
Makers of Video Game High School tackle 4K and connect with aspiring filmmakers with help from Adobe Creative Cloud
Millions of subscribers to the web show Video Game High School are a testament to the idea that if you produce it, they will come. In 2010, University of Southern California graduate Freddie Wong began making the kinds of videos he wanted to watch and posting them on YouTube. More than one billion views later, RocketJump, the production company he co-founded with partners Dez Dolly and Matthew Arnold, is showing no signs of slowing down. In addition to securing a content deal with Lionsgate, the young company is paying it forward by launching RocketJump Film School to teach aspiring filmmakers the tricks of the trade.
Epic freesking and snowboarding tour improves video workflow and productivity with Adobe Creative Cloud
The Freeride World Tour by The North Face (FWT) is the top big mountain freeskiing and snowboarding tour in the world. FWT doesn’t deal with artificial jumps and groomed slopes. Athletes use the entire slope, including overhangs and cliff-faces, choosing their own path down the mountain while demonstrating control and technique through fluid movements and jumps. The mountains don’t just up the action for the athletes; they also challenge the event photographers and cinematographers. David Arnaud, the producer who has been in charge of the television and video production on FWT since 2009, along with Editor Aurelie Monod and a crew of up to 35 people, work in extremely challenging conditions to bring the excitement of FWT to viewers.
Post-production engineer combines hardware and software to bring VFX closer to editorial
Jeff Brue founded Open Drives four years ago to design storage solutions for the media and entertainment industry. Working with top filmmakers in Hollywood provided a great test base and enabled the company to push its storage technology to new heights. Having previously worked with David Fincher on House of Cards, Brue was tapped as the post-production engineer for Gone Girl, where he collaborated with a talented team to create a next-generation editorial platform using Adobe Creative Cloud.
Post-production supervisor pushes quality and guides integration using Adobe Creative Cloud
In the past decade, Peter Mavromates has worked on more than a dozen feature films, as well as a few TV series, generally serving as post-production supervisor. One thing that many of his projects have in common is the director: David Fincher. Mavromates knows that working with Fincher means the standards will be high, but he likes it that way. For Gone Girl, the main challenge was implementing a completely new post-production pipeline that included fast machines and Adobe Creative Cloud video applications.
With his latest project, Vashi Nedomansky took a detour from the sci-fi Sharknado thrillers to the real- life struggles of returning service members. Edited in Adobe Premiere Pro CC over 14 months, the feature-length documentary THAT WHICH I LOVE DESTROYS ME from producer/director Ric Roman Waugh culls hundreds of hours of footage from multiple cameras and codecs. The result is a powerful look at PTSD and how two Army Special Operations soldiers struggle to overcome it. The movie will appear on PIVOT TV on Veteran’s Day, November 11, 2014. www.takepart.com/vets
Reposted from Vashi Nedomansky’s blog.
THAT WHICH I LOVE DESTROYS ME
Assistant editor helps assemble post-production pipeline including Adobe Creative Cloud
As a child, Tyler Nelson liked to play with Legos. He enjoyed the process of building things, taking them apart, and building something new. Fast forward 20 years and Nelson is still constructing, but now he’s helping to create feature films instead of plastic brick structures. To him, the process isn’t that different—taking a huge amount of content and putting it together in a way that makes sense. He’s worked with David Fincher and Kirk Baxter on a number of projects, including the recently released Gone Girl, where he helped build the post-production pipeline that included Adobe Premiere Pro CC for editing and Adobe After Effects for opticals and visual effects.
Academy Award®-winning editor uses Adobe Premiere Pro CC to edit hit Hollywood feature
Kirk Baxter was attracted to cinema from a young age by films such as E.T., Raiders of the Lost Ark, and Star Wars. These “popcorn accessible” movies drew him in and fueled his aspirations. He started working for an Australian production company at age 17 and quickly recognized his affinity for editing. But never did he dream that one day he would be involved in the kinds of productions he works on regularly with filmmaker David Fincher.
As a two-time Academy Award® winner, Baxter has teamed with Fincher and his post-production crew on film and television projects, including The Curious Case of Benjamin Button, The Social Network, The Girl with the Dragon Tattoo, and House of Cards. For Fincher’s latest film, Gone Girl, “Team Fincher” took the workflow to a new level using a production pipeline built around Adobe Creative Cloud video applications, with Adobe Premiere Pro CC as the hub.
I’ve been the product manager for Adobe Premiere Pro for four years and have never been more excited to work with our product teams and customers as I am now. Most of you know by now that Premiere Pro CC was used as the exclusive NLE for David Fincher’s Gone Girl, the first Hollywood feature film shot in 6K. While you may already know how Premiere Pro helped the Gone Girl team work more efficiently, you likely don’t know how us working with the Gone Girl post-production team helped us build a better product.
Leading entertainment production company produces sports venue and stadium entertainment with Adobe Premiere Pro CC
When fans turn their attention to the big screens at sports’ biggest events, there’s a good chance that they’re watching the work of Van Wagner Big Screen Network Productions (VWBSN). Over the past three decades, Big Screen Networks established itself as the world’s leader in video board production for major sporting events, including the Olympic Games and World Cup to the Super Bowl, Rose Bowl, and NCAA Championships. A recent addition to the Van Wagner Sports & Entertainment family, VWBSN continues to deliver award-winning in-stadium content for audiences at events major sporting events around the world.
The production company is now implementing Adobe Creative Cloud to meet the growing demands for sports video content production. Creative Director Cameron Cone, Senior Editor Ryan Kehn, and Senior Editor Alex McMeekin work with teams across the U.S. and around the world to deliver anything that sports events need: from a single animation to full turnkey production.