Results tagged “editing”
Video production pros gain clients and recognition for amazing video production work using Adobe Creative Cloud and Premiere Pro CC
For twin brothers Phillip and Kevin Harvey, having grown up in Moscow, Idaho, it was hard to imagine they would one day be standing on top of the Space Needle in Seattle, Washington with Dave Matthews, or in the middle of CenturyLink Field during the NFC Championship celebrations. The path that led them there was paved with both luck and hard work.
After moving to Seattle and starting their own video production company, the two were tapped by the Seattle Seahawks to make videos chronicling the run up to Super Bowl XLIX. Combining creativity and the video applications in Adobe Creative Cloud, the resulting videos successfully channeled the excitement that gripped the northwest.
Adobe: Tell us about your background and how you got into the video production business.
Phillip Harvey: My brother actually moved to Seattle 10 years ago to study acting. He and some fellow students had the idea to start filming videos as a platform for their acting. That’s when I decided to make the move as well, and I joined the group. I wasn’t very interested in being in front of the camera, so I concentrated more on writing and shooting at the time.
Our group made several films and eventually Kevin and I made our first commercial, which we sold on spec, and that was probably the first time we thought, “Hey, we can actually make money doing this?” After that, things just kept progressing. We did a few more on-spec commercials, including one for Pepsi, and even worked with some local musicians like Sir Mix-A-Lot and The Presidents of the United States of America. One video even ended up on MTV.
Adobe: What kind of content are you working on today?
Phillip Harvey: Our projects today are pretty varied. We’re working with Macklemore and Ryan Lewis, we recently did a lot of work for the Seattle Seahawks, and we’ve done videos and exhibits for the EMP Museum, where Kevin is a producer. We also work on our own narrative projects on the side.
Adobe: How did you get involved with the Seahawks?
Phillip Harvey: During the regular football season the team needed a couple of promotional videos done for a contest they were running. I’d never been to a professional football game before, so it was quite the jump to suddenly be on the field. Eventually, when the playoffs came around we got a call asking if we wanted to make two videos a week leading up to the Super Bowl XLIX. What followed was a whirlwind of hard work and unique opportunities, including going onto the top of the Space Needle for the raising of the 12 flag.
Adobe: What was your process for producing those videos?
Phillip Harvey: Kevin and I would try to develop original concepts that fit with what the Seahawks were looking for. On game days we would assemble a team and try to execute the approved concepts. We used a variety of cameras including RED Epics and Scarlets, sometimes using a Movi rig. We tried to get non-broadcast material, things you don’t tend to see when you’re watching a game on TV. We tried to think cinematically. During the NFC Championship game one of our guys was right there for the game winning catch and was buried by the entire team as they celebrated. He got some great footage up until the camera goes down!
After the game we had very little time to go through all the footage so we used Prelude to sort it quickly and select good shots. It was also extremely helpful that the Seahawks used Creative Cloud and Prelude to attach metadata to their game footage, so if we needed shots from them we could easily look up a specific clip, such as QB Russell Wilson making a pass. The NFL Films guys are great at capturing the on-the-field action footage, so we often needed to supplement our material with what they shot.
Our workflow usually involved me cutting the video in Premiere Pro while Kevin designed effects and motion graphics assets in After Effects, and depending on which area was falling behind we could jump in and help each other out. We would bounce drafts back and forth with the Seahawks until we finally shaped it into the best video we could. Usually we were refining and re-cutting right up until the video posted. It was an intense pace.
Adobe: What other Creative Cloud applications do you use?
Phillip Harvey: For the Divisional game video we did some work in Photoshop. The big wide shot of the field was initially a timelapse of the CenturyLink Field filling up, shot by F-Stop Seattle. Kevin used Photoshop to make the stadium look empty and then finished it in After Effects to achieve the opening shot in the I’m In Again video, which is probably my favorite video that we did.
We also use Audition, but more for our filmmaking work, and we’ve done a bit of color correcting in SpeedGrade as well. We’re pretty excited about the recent upgrades to the color space in Premiere Pro. Adobe Creative Cloud has enabled our livelihood, and it’s really amazing to think about how much the software has grown over the years.
Adobe: What are some of the things you like about working with Creative Cloud?
Phillip Harvey: We switched from Final Cut Pro to Premiere Pro around the time Final Cut Pro X was released. We were doing so much work in After Effects at the time that it made sense to switch to Premiere Pro. We really haven’t looked back since.
Adobe: Tell us about your other projects.
Phillip Harvey: We’ve been doing some work for Macklemore and Ryan Lewis, organizing and adding metadata to almost all of the footage that they’ve ever shot, which is quite the task. For that I pretty much live inside Prelude. We’ve also done much of the video content for the exhibits at the EMP Museum in Seattle. We worked on the We Are 12™, Indie Game Revolution, Fantasy: Worlds of Myth and Magic, Star Wars™ and the Power of Costume, and most recently, Infinite Worlds of Science Fiction.
Adobe: What’s next for you?
Phillip Harvey: These past few months have been pretty amazing. Being involved with the Seahawks during the Super Bowl XLIX run, something that’s such a big part of the Northwest, was a great experience. This past year we also won Best in Seattle at the 48 Hour Film Festival for the second year in a row, and film went on to take third place internationally out of 4,500 total films and about 125 city winners.
We were nominated for Best Writing, Best Directing, and we won an award for Best Acting Ensemble. Our film will also be involved in a special screening at the Cannes Film Festival in May. We are also developing our first feature film concept. We’ve been really excited about the opportunities that have come our way, and we look forward to what’s next!
I, Charon, the 48-Hour Film Festival winner:
Learn more about Adobe Creative Cloud
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.