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Adobe weblog about Premiere Pro and the success of Premiere Pro customers worldwide

One-of-a-kind documentaries enjoy world premieres at SXSW

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.

Samantha Futerman and Anaïs Bordier celebrate their first reunion together at the London Eye in Twinsters

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Documentary features shine light on hot topics at SXSW

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.

Peace Officer

Image of Dub Lawrence from Peace Officer

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At SXSW 2015: Twice As Many Films Cut with Adobe Premiere Pro

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”.

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“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)
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The Boy, helmed by Craig McNeill is premiering this year at SXSW

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The Evolution of Film Editing

Originally posted to the Adobe Conversations Blog by Bill Roberts, Senior Director of Product Management, Creative Cloud Video segment

In 1934 the Academy Awards introduced a new category: Film Editing, awarding an Oscar to Conrad A. Nervig for his work on the movie Eskimo. Often called “the invisible art,” editing has made movies possible since they first began, but the field still struggles to gain the appreciation from the general public that it deserves.

At Adobe, however, we have always been big fans. To honor the art of film editing on the eve of the 87th annual Academy Awards, we’ve put together a quick visual timeline spanning 1890 to 2015. Conveying a sense of just how far we’ve come in relatively little time, this overview features a selection of the major milestones that have taken editors from the earliest manual splicing methods to the advanced digital editing software of today.

Evolution of Editing

Bill Roberts is the senior director of Product Management for Creative Cloud, Video Segment, at Adobe. He has worked in professional video and audio for over 20 years, with the majority of his career focused on developing software tools for creative professionals.  Bill’s career spans time spent editing for Canada’s largest private network, CTV, through to developing software for leading visual effects artists at Discreet Logic / Autodesk and helping broadcasters adapt to changing technologies and workflows at Avid. He is an expert on video, film and file based workflows and the impact that the Internet is having on both content creation and consumption. Bill is a graduate of Ryerson University in Toronto and resides in Montreal.

 

David Levy explores new worlds with “PLUG”

Famed Hollywood concept designer directs/produces sci-fi short using Adobe Creative Cloud

David Levy is an acclaimed art director and concept artist to the videogame and film industry. His credits include Avatar 2Tron: Legacy, Ender’s GamePrometheus, and Tomorrowland. He has now debuted his own short film, PLUG, which introduces the concept for a TV series he hopes to get off the ground. Levy not only funded, co-wrote, and directed PLUG, but also taught himself visual effects to finish it. He produced the 15-minute short from start to finish using Adobe Creative Cloud.

PLUG_03

Adobe: Tell us about PLUG.

Levy: The story is about a woman, Leila Dawn played by Natalie Floyd, who is the last human on Earth. Much like the Tarzan story about a boy raised by apes, the girl was raised by robots. She embarks on a journey to find out what happened, ultimately discovering human life and a new reality of what happened on Earth.

Adobe: What prompted you to create PLUG?

Levy: In my work as a concept designer, I developed new universes, but always for others. I wanted to do it for myself. Over the years, I learned shooting, editing, and directing skills. I knew I could make a film on my own, although a full feature film seemed out of reach. More than anything, I wanted a change.

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Rockstar energizes its brand with dynamic videos

In-house video team brings fans closer to the action than ever using Adobe Creative Cloud

From athletes to rock stars, Rockstar Energy Drink is made for people who live active lifestyles. Available in more than 30 countries, Rockstar has sold billions of cans worldwide. Like its name suggests, Rockstar is a brand built on excitement and action, and the company reaches its audience by sponsoring a wide range of sports and music events all over the globe. Rockstar’s video team delivers intense videos that capture the thrill of speeding around the BMX track or hurtling down snow-covered peaks.

Travis Valtierra on Switching to Premiere Pro: 

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“The Chair” explores filmmaking through the lens of two first-timers

Production team uses Adobe Premiere Pro CC to turn 3,000 hours of documentary footage into 10 compelling television episodes

Chris Moore, executive producer of Project Greenlight, has long been fascinated by the way different creative visions can take projects in wildly different directions. The Chair is a documentary series that follows two directors as they develop their first feature-length films based on the same original screenplay. Over the course of ten episodes, viewers are invited to join Shane Dawson and Anna Martemucci as they each bring their own artistic vision to life.

Rob Henry, who’s recently partnered with The Chair’s DGA-award winner Anthony B. Sacco and Director of Photography Dan Kavanaugh to form INTERSECTION, led the creative team in editorial, which was tasked with cutting thousands of hours of behind-the-scenes footage into ten, hour-long episodes. The team, including Editors Dave Henry and Jon Berry and Graphics Artist Austin Brown, began the project working with Avid but soon realized that Adobe Premiere Pro CC would allow them to handle the massive amount source footage more efficiently.

After airing on STARZ in 2014, the series is now available on iTunes, Amazon, Google Play, Vudu, Starz Play, and Starz On Demand and is available to purchase on DVD February 17, 2015.

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The Chair Crew DGA win (L to R) Chris Moore creator/EP, Kyle Stratton Line Producer, Rob Henry producer/editor, Anthony B. Sacco director/EP, Dan Kavanaugh dir. of photography, Julia Perry Sacco domestic goddess, Josh Shader Co-EP/producer Not Cool & Hollidaysburg

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The 4K Production Workflow of Nippon Television Network

Japanese broadcaster, Nippon Television Network, implements a cost-effective solution based on Adobe Creative Cloud to create a dynamic and efficient workflow for ultra-high definition 4K broadcasts.

Nippon_1When the first 4K channel in Japan, Channel 4K, began test broadcasts, it started by airing live musical performances, travelogues, and sports broadcasts provided for free by members of the Next Generation Television & Broadcasting Promotion Forum. Since then, broadcasters have started to produce their own 4K programming , but the equipment remains costly. In addition, transcoding and outputting programs takes a great deal of time.

Originally a format developed for feature-length films, 4K was not intended for television programming where high volume production is valued. To begin introducing original 4K content in the broadcast space, Nippon Television Network Corporation (Nippon TV) developed a 4K programming production workflow using Adobe Creative Cloud for enterprise.

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Conservation International increases environmental awareness through visual storytelling

Environmental conservancy uses Adobe Creative Cloud to highlight impact of projects around the world

Building upon a foundation of science, partnership, and fieldwork, Conservation International (CI) seeks global solutions to problems that threaten the health of the planet’s ecosystems. The visual storytelling team at CI uses video as a primary way to communicate how the organization’s projects protect nature, empower communities, and shape public policy. Peter Stonier, Senior Director of Visual Storytelling, and John Martin, Director of Production at CI, rely on Adobe Creative Cloud, including Adobe Premiere Pro CC and Adobe After Effects CC, to aid their visual storytelling efforts.

Adobe: What is the mission of Conservation International?

Stonier: CI is an environmental organization with two distinguishing features. First, our mission focuses on conserving the environment for the well-being of humanity, not just for the environment’s sake. We believe that nature doesn’t need people, people need nature.

Second, because CI started as the international arm of the Nature Conservancy, our work tends to be outside the U.S. and Europe. We are dedicated to preserving the remaining natural ecosystems vital to the health of the biosphere, many of which are in the developing world, around the equator.

Conservation-International_1

Peter Stonier, Senior Director, Conservation International

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Creatives all over the world are producing amazing work with Premiere Pro -

Tell us your story HERE

Ask a Video Pro Webinars

Managing Video Formats with Adobe Media Encoder - presented by Joost van der Hoeven

Thursday, March 12th | 10amPT
Register



Recent Sessions

The Filmmaking Workflow with Premiere Pro & Creative Cloud - presented by Christine Steele
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Secrets to Running a Great Wedding Video Business - presented by Summeyah & Jawad Mir
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Blurring the Line Between Indie & Hollywood - a panel discussion featuring Rob Legato, Dave Ginsberg, Kyle Alvarez & Meagan Keane at Sundance Film Festival 2015.
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After Effects for (almost!) Everyone - presented by Joost van der Hoeven.
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Bring Color Grading to Your Editorial Workflow - presented by Patrick Palmer.
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LOG and RAW Workflow & Adobe Tools presented by Robbie Carman
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Boost Your Career with a Killer Reel presented by Rod Harlan
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What’s new in Creative Cloud for video - presented by Jason Levine LIVE from IBC Show 2014
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Making the Switch to Adobe Premiere Pro - presented by Colin Smith
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From Photography to Videography: Filmmaking Tools in Creative Cloud - presented by Terry White
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