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.
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
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
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
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
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
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
"The Underdog" from RED Digital Cinema and presented by Abandon Visuals is the story of an unnamed fighter and his quest to become the champion of an underground fight club. Shot on a WEAPON with HELIUM 8K S35 sensor and Leica Summicron-C lenses, the short film showcases a fighter as he prepares for his shot at glory. —Abandon Visuals