Premiere in Post — Premiere Bro

For this Peugeot TVC I used the Warp Stabilizer in Premiere Pro to remove camera shake on some of the footage. Try changing the default method Subspace Warp to Position or Perspective mode for better results.—Jimmy Falinski

Mar 6

Mar 6 Adobe: The Making of REMEMORY

REMEMORY - starring Peter Dinklage & Juliette Binoche - premiered at the 2017 Sundance Film Festival. The film's writer and director, Mark Palansky shares the project's journey from story to screen, and how Adobe tools like Premiere Pro and After Effects came into play. —Adobe

At 1:36, Mark says REMEMORY was cut in Premiere Pro because it was the NLE his editor, Tyler Nelson, was most familiar with. Tyler is Kirk Baxter's long-time assistant editor and part of the David Fincher editorial gang that cut Gone Girl in Premiere Pro. It's exciting to see Premiere Pro's success with Gone Girl bearing fruit in other films in this manner.

Premiere Pro's integration with After Effects also benefitted REMEMORY, says Mark. Keeping with David Fincher's style, REMEMORY has "more effects shots than you'd think." Mark expounds on this starting at 1:50. He says Dynamic Link with After Effects was particular helpful for creating proofs of concept on the fly during editorial. This immediacy allowed Mark and Tyler to act on their creative inspirations in the moment instead of "pinning it for later" or handing it off to an assistant editor.

Mar 2

Mar 2 McDonald's Chicken Big Mac

Edited by Jimmy Falinski

Footage was a mix of Arri Amira and the Phantom high-speed camera. All slow motion was done in-camera. Footage was cut on-set and back at the production company.

The speed ramp technique I used for this commercial was done the old school way: chopping up the clip with the razor tool, and then retiming those individual clips. It doesn't have the smoothness of speed ramping with keyframes.

—Jimmy Falinski

Credits

Agency: DDB Copenhagen
Company: Spoiled
Director: Mike Nybroe
Dop: Claus Rosenløv
Producer: Amalie Herskind
Foodstylist: Christopher Bomann

Jan 30

Jan 30 Adobe: David Lowery Returns to The Sundance Film Festival with A Ghost Story

Source: https://blogs.adobe.com/creativecloud/david-lowery-returns-to-the-sundance-film-festival-with-a-ghost-story

In this Adobe blog post, filmmaker David Lowery discusses A Ghost Story, which premiered at Sundance 2017. This is David's first film edited entirely in Premiere Pro (see 1:57), and He commends Adobe for giving independents and low-budget filmmakers creative tools that used to be unaccessible. In his video interview (at 1:07) David offers some really great insight into how being an editor and having an editorial mindset helps give him a "head start" in his scripting and directorial decisions. And at 1:30 explains how he and his team used the entire Creative Cloud suite on A Ghost Story, from rough cuts in Premiere Pro to final compositing in After Effects.

I was a Final Cut Pro 7 user, but after Final Cut 10 came out I downloaded Adobe Premiere Pro to try it out. It was really easy to pick up on everything. My first use of it in a practical way was on the set of Pete’s Dragon. It was a snap, just as I had expected. —David Lowery, Adobe Creative Cloud Blog

Jan 2

Jan 2 2017 ACE EDDIE Awards: Deadpool and Hail, Caesar! (Edited in Premiere Pro)

Congrats to the post-production teams of Deadpool and Hail, Caesar! for being nominated for the Eddie award for Best Edited Feature Film (Comedy). This is a big win for Adobe because both films were edited in Premiere Pro CC. Click the links below to read Adobe's blog posts on these films.

Source: https://americancinemaeditors.org/eddie-awards/eddie-nominees/

Dec 14

Dec 14 Adobe: Gareth Edwards on the making of "Monsters"

Before he directed Rogue One: A Star Wars Story and Godzilla, Gareth Edwards made Monsters, a Spielbergian independent thriller. Hear from Gareth himself speak on how the Adobe Photoshop, After Effects and Premiere Pro helped him bring his film to the silver screen. He insightfully points out that, just like watching a movie is a singular experience, the ultimate post-production software should blur the lines between editing and visual effects. Gareth aptly puts it this way, "I'm a big fan of Adobe because it all interlinks".

Gareth Edwards is known for his successes with "Godzilla" and "Rogue One: A Star Wars Movie™", but many people still refer to his breakout independent film, "Monsters". Hear Gareth talk about how working in tools like Premiere Pro and After Effects enabled him to work quickly in multiple locations and deliver his film "Monsters". —Adobe

Source: https://youtu.be/7YXeF5iiUoY

Dec 5

Dec 5 Adobe: Documentary Now - A New Twist on Classic Documentaries

Source: https://blogs.adobe.com/creativecloud/documentary-now-emulates-classic-documentary-styles

From the Adobe Creative Cloud blog and YouTube channel comes this look at how the post-production team of IFC's Documentary Now!, starring Fred Armisen, Bill Hader, and Set Meyers, uses Creative Cloud to produce documentary parodies. The blog post, written by Meagan Keane, specifically mentions the Lumetri Color panel in Premiere Pro, "The team works with adjustment layers in Premiere Pro, specifically the Lumetri color tools and grain overlays to achieve many of the desired effects."

See how the team behind the comedy series "Documentary Now!" uses Adobe Creative Cloud to bring a different approach to documentary filmmaking. —Adobe

Oct 18

Oct 18 Adobe: Shin Godzilla Roars Into US Theaters

Source: https://blogs.adobe.com/creativecloud/shin-godzilla-roars-into-us-theaters

After a smashing success at Japan's box office, Shin Godzilla crossed the pacific last week, and was met with similar acclaim in US theaters. Shin Godzilla was written and co-directed by Hideaki Anno, and edited by Atsuki Sato. This Adobe blog post by Meagan Keane highlights some of the factors that led Atsuki to edit Shin Godzilla in Premiere Pro. Check out the video interview with Atsuki included in the blog post.

I’m very proud of being a part of this amazing film and look forward to working with Premiere Pro CC on future projects. —Atsuki Sato, Editor Shin Godzilla

Oct 7

Oct 7 Forbes: Godzilla Resurgence Edited in Adobe Premiere Pro CC

Godzilla Resurgence had roaring success at the Japan box office. According to this Forbes interview with the film's co-editor, Atsuki Sato, Godzilla Resurgence was cut in Adobe Premiere Pro CC. Atsuki and his team decided on Premiere Pro CC based on previous experiences that taught them "the importance of carrying out filming, editing and VFX in an entirely integrated manner." The integration with other Creative Cloud applications, particularly Dynamic Link with After Effects CC, continues to be a prevailing reason why filmmakers are choosing to edit with Premiere Pro CC. Check out the full Forbes interview with Atsuki Sato, which includes a picture of the Godzilla Resurgence edit inside Premiere Pro CC.

"We decided to compose our editing studio based on Adobe’s Premiere Pro CC, which enables integration for multiple devices and provides a flexible editing situation where multiple people could work simultaneously." —Atsuki Sato

Aug 29

Aug 29 Ident Pictures gives viewers a 360-degree tour of the Gotthard Base Tunnel

This Adobe blog post (Ident Pictures gives viewers a 360-degree tour of the Gotthard Base Tunnel) features a 360° video documentary on the Goddard Base Tunnel by Roman Lehmann of Ident Pictures. Edited in Premiere Pro.

I’ve worked with Adobe Premiere Pro for three years and I’ve always liked that it can handle huge files, even 5K or 6K video. With a good computer, you can work quite flawlessly during the edit, and with proxy workflows in the newest version of Premiere Pro it is getting even easier. I don’t have to think about codecs and formats anymore because it’s all readable by Premiere Pro, which frees me up to think about the story instead of worrying about the technical aspects. —Roman Lehmann

See Ident Pictures at the Adobe booth, IBC 2016:

Managing Director Roman Lehmann will discuss his work creating video, audio, and photography content for television, film, and the web. He’ll also share his first 360-degree video project, a short film he helped create on the Gotthard Base Tunnel. —Meagan Keane

Aug 9

Aug 9 Underdog: Helium 8K Post Workflow in Premiere Pro