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SMOSH creates laugh-out-loud video content for a loyal audience that now counts over 35 million total subscribers
Powerhouse digital comedy brand entertains fans with hilarious videos created using Adobe Creative Cloud
SMOSH, founded by childhood friends Anthony Padilla and Ian Hecox, has been entertaining audiences with their unique brand of humor for the past decade and has one of the strongest digital footprints of any media brand in existence today. SMOSH’s main YouTube channel recently surpassed a remarkable 21 million subscribers, it counts more than 35 million subscribers across multiple channels that also include spin-off’s SMOSH Games and Shut Up! Cartoons, and has seen record-setting success with the launch of mobile games, apps and music, as well as merchandise (they even have a calendar!)
SMOSH recently celebrated the release of its first feature-length film, SMOSH: The Movie, which made its debut with a red carpet Hollywood premiere in late July and quickly rose to the top of the iTunes charts following its digital debut. Need more evidence of the rising influence and celebrity of these online talents? The iconic Madame Tussauds Wax Museum chose SMOSH to be THE first digital stars to be immortalized in wax. The figures will tour the country next year.
Top editor brings energy and organization to short-form projects with Adobe Premiere Pro CC
Siân Fever will be presenting the session “How to Make It in Short-Form Video with Premiere Pro CC” in the Adobe stand 7.G27 at IBC 2015 on Friday, Sept. 11th at 11:30 am and 2:30 pm and Saturday, Sept. 12th at 10:30 am.
Siân Fever knew that she wanted to work in video production when she was just a teenager. She consumed a steady diet of MTV and gravitated towards behind-the-scenes videos featuring famed music video director Joseph Kahn talking about his work. After hearing raves about it from a fellow Blockbuster employee, she knew her path would involve film school.
Fever studied at the BRIT School for Performing Arts and Technology, the same school attended by alumni such as Adele and Amy Winehouse, and then Bournemouth University before taking her first job at MTV. Throughout her career, she has primarily focused on short-form content, and believes there is a lot to be gained by working in this genre. To help her stay organized, edit quickly, and manage client expectations, Fever uses Adobe Premiere Pro CC.
Adobe: What did you do for MTV?
Ultimate indie artist creates shows from start to finish with help from Adobe Creative Cloud
Kylie Flavell will be presenting the session “Creating Shows from Start to Finish with Creative Cloud” in the Adobe stand 7.G27 at IBC 2015 on Sunday, September 13th at 10:30 am and 2:30 pm and Monday, September 14th at 10:30 am.
Kylie Flavell has the tenacity and talent to make her dreams come true. When it comes to making her hot travel TV shows, including Hooked Up—which has 1.5 million YouTube viewers per episode—she does it all as host, producer, camera operator, editor, color grader, lighting engineer, sound engineer, post-production specialist, and distributor. To help her accomplish her ambitious goals and fuel her creative freedom and passion, she relies on an Adobe Creative Cloud workflow that includes Adobe Premiere Pro CC and Adobe After Effects CC.
Adobe: Tell us about your background.
Flavell: I’m Australian and worked as a magazine editor and publisher. One day I decided to quit my job and run away to live in Italy. While there are people who say life can’t be like it is in the movies, I say yes it can! My generation is the luckiest ever, because literally all we’re limited by is our imagination, and I take that to the extreme.
“Saturday Night Live” short-film team tackles feature film with help from Adobe Premiere Pro CC
Rhys Thomas and Adam Epstein have worked together for years on the short films for the Saturday Night Live Film Unit—Rhys as the director and producer, Adam as the editor. So when Thomas got the opportunity to direct the feature film Staten Island Summer, Epstein was a natural choice to edit. The film, produced by Lorne Michaels, features many recognizable Saturday Night Live faces. While there are some clear differences between delivering content for a weekly television show and working on a movie, there were many similarities as well. One thing that remained the same was the team’s proven editing workflow, powered by Adobe Premiere Pro CC.
Adobe: Let’s start at the beginning—when was the movie shot?
Post house thrives with mix of commercial and film projects produced with help from Adobe Creative Cloud
Coyote Post, a full service post-production studio in Hollywood, has been busy since we checked in with them a year ago. In addition to winning a Cannes Lions Award for the “Wake Up & Smell the Bacon” campaign for Oscar Mayer, a collaboration with production house Dirty Robber, the studio also moved from Silver Lake in Los Angeles to a beautiful new space in East Hollywood. The talented team of freelancers at Coyote Post continues to push the limits of creativity, using Adobe Creative Cloud for editorial, color, and VFX work. Executive Producer Rik Michul and Post Production Supervisor Julie Hansen updated us on the company’s amazing year.
Adobe: What’s the latest with Coyote Post?
Michul: The last year has been a bit of a blur. We’ve worked on several hallmark projects, including the documentary Kobe Bryant’s Muse, several music videos and commercials, and also completed effects and color work for two indie features.
Sundance NEXT FEST is a festival that celebrates film, music, and indie artists. After premiering at the 2015 Sundance Film Festival, Cop Car enjoyed an outdoor screening at the Hollywood Forever Cemetery on Sunday, August 2, 2015. We spoke with the film’s Editors, Andrew Hasse and Megan Brooks, earlier this year about their work on the film. In addition to having them join me for a panel discussion focused on the Cop Car post-production process on Saturday, August 8, 2015, I also had the opportunity to learn about what they’ve been doing since the film’s premier earlier this year.
Adobe: Do you have an update on Cop Car that you can share with us?
Hasse: After the 2015 Sundance Film Festival and seeing Cop Car with an audience for the first time, we made some updates and small revisions to the film and finished all of the effects. The film was bought by Focus World and will be distributed in theaters and on DVD beginning August 7, 2015. Also, Jon Watts, the film’s director, will be directing the new Spiderman film, which is really exciting.
Brooks: As a result of our work on Cop Car and Creative Control we’ve also been featured in Filmmaker Magazine’s issue highlighting the 25 New Faces of Independent Film 2015, which is a huge honor.
Production team prepares footage for post four times faster using Adobe Creative Cloud
The production team of Discovery’s popular reality TV series, Gold Rush works in the Yukon Territory, a vast, sprawling and wild landscape in western Canada. There, they document the efforts of gritty miners hoping to strike it rich tapping gold placer deposits. The show has grown in popularity and scale since its debut.
Today, the on-site production team must prepare and send massive amounts of footage—from GoPro, Sony XDCAM, and other cameras—to the show’s post-production house in London. Colin Bowes, technical director, and Candice Bowers, digital imaging technician, know the challenges of this workflow, but say they are far outweighed by the rewards of the project. Recently, the team transitioned the entire workflow to Adobe Creative Cloud for teams, helping to save time and drive space.
Adobe: Tell us more about Gold Rush.
Filmmakers and Adobe Premiere Pro aficionados shine at the American Cinema Editors Student Competition
Each year, the American Cinema Editors (ACE) present the prestigious EDDIE Awards for the best-edited films in the business. To encourage young, up-and-coming editors, ACE also hosts an annual student film editing EDDIE competition. In 2015, two student editors, Aneesa Mahboob and Ben Stringfellow, used Adobe Premiere Pro to edit their films—and became two of the three competition finalists out of a pool of 100 students. Here, they talk about their experiences using Adobe video tools to create their standout film projects.
Adobe: Tell us how each of you got into filmmaking?
Driven by a love of storytelling and a fearless nature, filmmaker Dave Basulto’s packed career has taken him from Wall Street to Hollywood and beyond. A California boy, he started out working as a stockbroker back in the 80’s with an office on the 65th floor of the World Trade Center. Living and working in New York City was an adventure and the money was good, but when someone called to see if he wanted to be an extra in Rocky V, his curiosity got the better of him.
“I had absolutely no idea what I was getting into,” Basulto recalls, “but as soon as I heard the word ‘Rocky,’ I just had to give it a try.” It was his first time on a film set and he loved the feeling of being around actors and the crew so much that he soon decided to drop everything and become an actor full-time. So, to the great chagrin of his mother, he packed his belongings and headed west for Hollywood and a great future. He refers to that decision as “a leap of faith.” There would be more of them.
“I didn’t make it big, but I made a decent living for 10 years” he says. “On the TV front I had appearances in Cheers, Mad About You, News Radio. In films I got to work alongside stars like Jon Voight, Steven Seagal, and many others. One of my favorite roles was in American History X where I tormented Edward Norton’s character in jail.”
This post is part of a series where we challenge filmmakers to transform the atmosphere or feel of a short video clip, by using custom Looks created with Adobe Hue CC. Show us what you can do with the same footage by downloading it here.
Color and light have a huge impact on the art of filmmaking. They set the mood and tone (no pun intended!) of a scene, and guide our experience of the story. To illustrate this phenomenon, we caught up with Jason Levine (@Beatlejase) and asked him to use the all-new Adobe Hue CC to capture three custom Looks and apply them to the same set of video clips using Adobe Premiere Clip to see how creative looks alter the feel of a piece.
Here’s the original montage:
Look #1: Desert Sunrise
When & Where did you capture this Look?
This look was captured in Las Vegas, Nevada at approximately 6:15am, in April 2015.