Results tagged “editing”
Top studios ITV Studios and Pukeko Pictures reimagine classic British sci-fi TV series using Adobe Creative Cloud
In 1965, Gerry and Sylvia Anderson introduced the world to adventure, excitement, and a whole new aesthetic look with the classic television series, Thunderbirds. Audiences gathered around their televisions to follow the adventures of International Rescue, led by the Tracy family and their fleet of advanced Thunderbird machines. Combining marionette puppetry and scale-model special effects, Thunderbirds is still one of the best examples of “supermarionation” ever seen on screen.
Fifty years after Thunderbirds debuted, the Tracy brothers are coming back to the small screen in the brand new series, Thunderbirds Are Go. Produced by ITV Studios and Pukeko Pictures, the new series replaces its well-known marionettes with CGI, but combines the animated characters with live-action miniature models developed by Weta Workshop. Producer Stuart McAra and Series Editor Anthony Cox help Thunderbirds Are Go balance modern technologies with retro feel.
Adobe: Tell us about Thunderbirds Are Go.
McAra: Thunderbirds Are Go is a reimagining that is definitely full of love for both the original Thunderbirds and Gerry Anderson’s legacy. A lot of us working on this project grew up watching Thunderbirds, so we’re trying to keep the heart of the story. Even though we’re updating the characters to CGI, the movements are more stylized than naturalistic, which should remind fans of the show’s puppet roots. We’re also mixing the computer animation with lots of fantastic miniature and model work that pays tribute to the original show.
Professional colorist maximizes the power of video using Adobe Creative Cloud
Robbie Carman is passionate about color and the power it brings to storytelling. So much so that he established a boutique company, Amigo Media, to focus solely on color correction. His single-mindedness paid off. Washington, D.C.-based Amigo Media has graded hundreds of hours of television, documentary, feature film and political programming. But people looking to glean ideas and information about color need not trek to Washington D.C. Carman gladly and enthusiastically shares his knowledge in multiple venues, from online classes and training videos to books and seminars.
If you are attending the 2015 NAB Show, you’ll have an opportunity to see his presentation entitled “Work Like An Editor Think Like A Colorist” in the Adobe theater, on Monday, April 13th and Tuesday, April 14th at 12:30 p.m., Wednesday, April 15th at 12:30 p.m., and Thursday, April 16th at 10:30 a.m.
Adobe: What’s your background as colorist?
Carman: When I started out, I fell in love with the aesthetic and technical side of editing, solving problems and making shots look better. As NLE tools became more sophisticated, I found myself doing more and more color work in the context of being an editor. Clients kept coming and I realized I wanted to do color full time. In 2005 I founded Amigo Media, and started calling myself a colorist rather than editor.
I’m lucky. A lot of one-man shops do a little of everything: filming, editing, audio, and so on. I’ve been successful doing the one thing I love, focusing on color to enhance video content and help people tell their stories.
Webby-award winning film team entertains and educates with short films created using Adobe Creative Cloud and Red Giant plug-ins
Red Giant specializes in tools and plug-ins that make filmmaking faster, easier, and just more fun. Red Giant plug-ins are used in Hollywood films, television shows, and national commercials, but they’re just as helpful to independent and aspiring filmmakers. Red Giant’s Head of Marketing Aharon Rabinowitz came up with an innovative new way to reach these diverse audiences. Working with director Seth Worley, the company creates exciting short films that showcase Red Giant plug-ins used in an Adobe Creative Cloud workflow.
Adobe: Tell us how you got involved with Red Giant.
Rabinowitz: I was at Viacom working on production, writing, animation—a little bit of everything. Then in 2004 Creative COW invited me to do an online weekly tutorial podcast on Adobe After Effects. This was before YouTube, so there was really nothing like it at the time. The tutorials were much more popular than I thought they would be. I was able to use that experience to get a job with Red Giant creating training and online content.
Worley: During the last season of Lost, ABC had a contest that challenged fans to create a promo for the series. I used the Red Giant Trapcode Particular plug-in for After Effects to recreate the infamous “smoke monster” from Lost for the promo. Aharon found my promo, took a look at my portfolio, and asked me to work with them. Honestly, my first thought was that I could get some free Red Giant software, which sounded like a great deal to me.
LA Kings production team edits second season of Emmy Award-winning Stanley Cup Moments using Adobe Premiere Pro CC
Only two years after becoming Stanley Cup Champions in 2012, the LA Kings reclaimed the title, winning the 2014 Stanley Cup. With these championship wins, fans of the LA Kings have only become more vocal in their support of the team. Kings Vision, led by Director of Production Aaron Brenner, helps fans gain a better appreciation for their team and relive the highlights with spectacular video content.
After the 2012 championship, Kings Vision used Adobe Premiere Pro CC software to wow fans with a series of video highlights called Stanley Cup Moments, which received three nominations and a win for Sports Feature at the Los Angeles Area Emmy Awards. Brenner and his team have just wrapped up a 2014 edition of the well-received mini-series.
If you happen to be attending the 2015 NAB Show, Brenner will be delivering a presentation entitled “LA Kings: Producing Championship Content with Creative Cloud” in the Adobe theater on Tuesday, April 14th at 9:30 am and Wednesday, April 15th at 2:00 pm.
Adobe: How was the reception to Stanley Cup Moments?
Entire production process for digital release completed in six months with help from Adobe Creative Cloud
Video game aficionados are no doubt familiar with Dead Rising, a third-person action video game franchise that has sold more than 7.6 million copies worldwide. In 2014, Contradiction Films, which specializes in finding properties in the video game world that can become good feature films, secured the film rights to Dead Rising: Watchtower. The company then locked in Legendary Entertainment’s Television and Digital Media division as a co-producer and Crackle, Sony Pictures Television’s streaming service and television network, for distribution.
With an extremely short production schedule, Zach Lipovsky, the film’s director, began shooting in October 2014 and finished just a few weeks later in early November. Lipovsky brought in former colleagues Andy Levine, who served as post-production supervisor, and Mike Jackson who edited the film in less than eight weeks. To accomplish the aggressive goal to deliver the film in just six months for its March 27, 2015 premiere on Crackle, the team relied on an integrated Adobe Creative Cloud workflow.
MLB’s 24/7 cable TV network helps support 20% year-over-year growth in production demand with Adobe Creative Cloud workflow
MLB Network prides itself on delivering the most comprehensive coverage of baseball anywhere. Since its launch in 2009, the popularity of MLB Network has soared, spurring 20% year-over-year growth in production demand. In 2014, the network adopted all-new editing and post-production technologies to accommodate expansion, boost efficiency, and further raise the bar on quality.
Adobe Creative Cloud for enterprise, particularly Adobe Premiere Pro CC and After Effects CC, are central to the network’s success in staying on the cutting edge of TV production. The network’s ongoing transformation is largely driven by Tab Butler, Director of Media Management and Post-Production; Clive Hayes, Engineering and Post-Production manager; and Chris Schiro, Post-Production Technical Supervisor.
Adobe: What content does MLB Network produce?
Butler: We basically have two seasons, the regular season and off-season. In the regular season we have the job of recording all of the games and creating a highlights factory workflow that produces our content for shows like MLB Tonight, The Rundown, Intentional Talk, MLB Now, and Quick Pitch, which focus on the day’s activities and give a snapshot of what’s going on around the league.
In the off-season we are focused on headlines around free agency and longer-form programming. We have daily news shows such as Hot Stove, as well as High Heat with Christopher Russo and MLB Tonight, and we produce several countdown shows, individual player profiles, and other programming that goes behind the daily game and into more of the storytelling about baseball.
Adobe: Tell us about your new environment.
Butler: Our production needs and volume are growing so rapidly that we really wanted to build a foundation for the future. We are rolling out 50 high-performance Cisco UCS C-240 computers as editing stations—all equipped with NVIDIA cards for GPU acceleration. We are now at 38 HD editing stations and are expanding to 50 HD edit workstations, running the Adobe Creative Cloud suite of products. We also will deploy 250 concurrent licenses for Adobe Premiere for desktop editing. We use a wide range of applications, including Premiere Pro, After Effects, Audition, Media Encoder, Prelude, Photoshop, and SpeedGrade.
When you talk with narrative filmmakers they often express that they have loved movies for as long as they can remember. Some pursue this passion from a young age, diving head first into filmmaking, while others follow different career paths that ultimately lead them to the same place. While the creativity and inspiration for the narrative films at the 2015 SXSW Film Festival varies widely, one thing quite a few films have in common is that they were edited with Adobe Premiere Pro CC. The four feature films profiled here share this distinction and are enjoying their world premieres at SXSW.
Part thriller, part romance (Uncle John, Narrative Feature Competition)
Steven Piet and Erik Crary met while working at a small production company in Chicago and immediately hit it off. Both had aspirations to work on a feature film and often sought each other’s feedback on scripts. Eventually, they decided to work on a script together, which ultimately became Uncle John. The film is both a thriller crime story and a romance, taking place in a small Midwestern town and a big city.
By definition, documentary films are factual records or accounts of events, but filmmakers know that they are much, much more. At their core, documentaries connect people with stories in unique and compelling ways. To help immerse viewers in stories that often include archival content and various forms of media, many SXSW filmmakers rely on the integrated applications found in Adobe Creative Cloud. Here, we highlight four films that are both fascinating documentaries and dynamic stories.
An unexpected path to sisterhood (Twinsters, Documentary Feature Competition)
Samantha Futerman got the surprise of a lifetime when after appearing in a film trailer on YouTube, she received a Facebook message asking if she was adopted. Indeed she was, and so was the French fashion student Anaïs Bordier who contacted her and looked extremely familiar. Born on the same day and both adopted from Korea, the two began a journey to discover the truth, were they in fact twin sisters? Futerman asked Bordier if she could document the process and Bordier agreed.
Documentary films often tackle current events to give audiences a deeper understanding of diverse topics and differing points of view. The SXSW Film Festival 2015 lineup of documentary features includes many films that seem to have anticipated what would be topical for this year’s audiences. Although the subject matters vary, an Adobe Creative Cloud workflow is common among many of this year’s documentary features at SXSW. Here, we look at four films that could have come directly from today’s headlines.
Searching for peace amidst growing violence (Peace Officer, Documentary Feature Competition)
The documentary feature Peace Officer from directors Scott Christopherson and Brad Barber explores the changing behavior and perception of police officers in the United States. The film focuses on Dub Lawrence, a former Utah sheriff who in the 1970s founded the same SWAT team in Utah that killed his son-in-law in 2008. After meeting Lawrence and learning about his mission to understand what happened, Christopherson and Barber decided to make a film that investigated this and other cases characterized by volatility and violence.
Over 120 films at this year’s SXSW Film used Adobe video applications, including 60 edited on Premiere Pro
What a difference a year makes. Last year at the 2014 SXSW Film Conference & Festival a respectable 23 films had been cut with Premiere Pro, including gems like Evaporating Borders by Iva Radivojevic and The Immortalists by Jason Sussberg and David Alvarado . This year the total has more than doubled with 60 films showing this year edited in Adobe’s professional NLE. Similar growth in Premiere Pro and Creative Cloud usage was seen at the 2015 Sundance Film Festival [add link to Sundance story] and 2014 ended with a bang with the release of David Fincher’s Gone Girl, edited entirely in Premiere Pro with over 80% of the film including effects assembled in After Effects”.
“We’re really excited to see our growth at SXSW, especially given how this event cuts across genres to showcase artistry in so many different disciplines,” said Al Mooney, product manager for Adobe Premiere Pro. “Premiere Pro is increasingly becoming the go-to NLE, both for established and up-and-coming filmmakers,” he explained. “Editors tell us they feel right at home very quickly and the tight integration with other Creative Cloud applications, like After Effects and Photoshop make this an incredible creative environment to work in.”
Adobe Creative Camp at SXSW 2015
For filmmakers attending SXSW, Adobe will be hosting a Creative Camp on Friday, March 13th and Saturday, March 14th with two sessions focused on video content creation and storytelling.
Below is a listing of films showing at the SXSW film Conference & Festival that incorporated Premiere Pro CC in their post-production workflow.
Narrative Feature Competition
- THE BOY Director: Craig Macneill, Screenwriters: Craig Macneill, Clay McLeod Chapman (World Premiere)
- Creative Control Director: Benjamin Dickinson, Screenwriters: Benjamin Dickinson, Micah Bloomberg (World Premiere)
- KRISHA Director/Screenwriter: Trey Edward Shults (World Premiere)
- Uncle John Director: Steven Piet, Screenwriters: Erik Crary, Steven Piet (World Premiere)
Documentary Feature Competition read more…