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?
Today we are releasing an update to Premiere Pro CC 2015, which includes multiple bug fixes and stability improvements and is recommended for all users. You can install the update from the Creative Cloud desktop application or by logging into your Creative Cloud account.
Alongside the stability enhancements, a new feature has been added which allows masks to be saved with effects presets.
Key issues fixed in this release are listed below:
Performance and Stability
Heavy memory usage with Lumetri YUV Vectorscope
Improve AVCintra 100 performance
Importing many stills results in a crash
Crash when attempting to adjust a mask on a Lumetri effect
Hang when switching Lumetri Scopes to any other than Waveform
Crash on Windows if you open the Premiere preferences with invalid device settings
Premiere crashes when attempting to open a project that has an effect mask applied to the Fast Color Corrector video effect
The keyboard shortcut for legacy Source Settings was missing
Timeline panel auto-scrolls and follows mouse when no button is pressed
Timeline panel Mute buttons change state when playing/scrubbing sequence
Audio distortion playing 5.1 clip in 5.1 track with multichannel master
Buzzing audio distortion when switching (Switch Audio) multicam cameras during playback.
Round tripping AAF results in random missing track items
Multimono clips in multichannel sequences do not play all audio channels
Audio crossfade transitions cause A/V sync offset when Round tripping FCP XML
Exporting timeline to AAF stalls near end of export
Volume set to minimum value, has no effect on channel volume
Performance issues with Multi-cam edit with 40+ audio channels.
Audio meters are lost when moving focus from trim window to timeline
Audio meters do not function when opening a project.
Audio Track Mixer and Audio Clip Mixer controls do not function after re-opening a project.
Audio Pops and clicks playing cut points in the timeline after source monitor scrub or playback
Crash when recording VO with transmit enabled and audio out is set audio device
Audio waveforms disappear in Source Monitor when a clip is opened a second time
Using “Write” mode in Audio Track Mixer automation does not record keyframes
Closed Captioning: MXF closed caption embedded files with AVI-I are not decoding properly / being recognized
Closed Captioning: With some files, captions will not display in the Source Monitor — captions also take a long time to load
Masks do not match the direct manipulation of the mask in the program window
Sync Settings : workspaces or keyboard shortcuts into Premiere CC 2015 that were created in CC 2014
Using Sync Settings once disables External Pref Management
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.”