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Philip Bloom tests Adobe Premiere Pro CS6

Philip Bloom tests Adobe Premiere Pro CS6

By Meagan Keane | April 21, 2012

In his celebrated career as a filmmaker, Philip Bloom has worn many hats, including director of photography, editor, director, and everything in between. Over the past five years, he's become an expert on budget filmmaking, as well as a trusted resource for information on the latest gear for shooting and editing film projects. Recently, he talked with Adobe about his experience testing the latest version of Adobe Premiere Pro. Read More

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NAB 2012: NewBlueFX Titler Pro

NAB 2012: NewBlueFX Titler Pro

They call it "A Titler for the Professional Editor's Schedule."

By Scott Simmons | April 21, 2012

NewBlue, Inc. is a software developer that had a booth in the South Hall’s plug-in pavilion. They were showing their NewBlue Titler, a dedicated title creation and animation tool that resides in most all the major NLEs. It has a clean, simple interface that didn’t look like it breaks any new ground as far as design goes but that may be okay if you’ve got the need to create and animate your titles in a hurry … which many of us do.

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NAB 2012: PluralEyes 3.0 from Singular Software

Believe it or not I think tiny little PluralEyes 3.0 is the NAB 2012 product I'm most looking forward to using.

By Scott Simmons | April 20, 2012

One of my favorite products being shown at NAB 2012 is the upcoming PluralEyes 3.0 from Singular Software. Many of use have been using PluralEyes for a lot of years now in all of our NLEs but when PluralEyes 3.0 ships, probably this summer, you’ll see a totally different and cleverly redesigned application.

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How Premiere Pro CS6 was used to create new music video for Keith Urban’s “For You”

How Premiere Pro CS6 was used to create new music video for Keith Urban’s “For You”

Bandito Brothers, Sunset Edit, and Hurlbut Visuals use Adobe Premiere Pro CS6 software to make music video sing with cinematic beauty.

By Michelle Gallina | April 14, 2012

As a followup to its success with Act of Valor, the creative media collective Bandito Brothers stepped up to produce the music video for Keith Urban's powerful new song "For You", written for the Act of Valor soundtrack. Scott Waugh of Bandito Brothers directed the video, Shane Hurlbut was the director of photography, and multiple-award-winning editor Ken Mowe of Sunset Edit (who previously edited exclusively with Avid software) used Adobe Premiere Pro for the first time to edit the music video.Shot with ARRI Alexa Studio and Canon Cinema EOS C300-new formats which can be mixed on a single timeline in Adobe Premiere Pro CS6-as well as Canon EOS 5D and 7D cameras, the project incorporates the newest digital cinematography processes. Features such as the enhanced multicam editor in Adobe Premiere Pro CS6 gave the team creative freedom to tell the story in the most impactful way. The sleek, new user interface, keyboard-driven workflows, and powerful trimming features, also helped make editing more fluid and precise. For more details on these new features in Adobe Premiere Pro CS6, see the Adobe website.After completing the initial edit, the Bandito Brothers team organized all the assets-VFX shots, edited footage from Urban's performance, and clips from the film-copied it all to a drive, and hand-delivered it to Mowe at Sunset for the final edit. In a departure from his traditional toolset as a music video veteran, Mowe used the beta version of Adobe Premiere Pro CS6 and was pleased with the flexibility and performance and said, "After three hours with Adobe Premiere Pro CS6 I felt very comfortable and I would use it again."A huge congratulations to the team for an amazing video! For more details of how this project was shot and produced, see this video. Read More

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adobe creative suite cs6 production premium

We’re revealing the upcoming Creative Suite 6 Production Premium Release

By Anita Engelman | April 12, 2012

We are so excited to show our customers ®Adobe Creative Suite® 6 Production Premium-including major updates for Adobe Premiere® Pro CS6 and Adobe After Effects® CS6- before its official release! Check out the top new CS6 Production Premium features on our CS6 Production Premium Reveal webpage. Read More

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My top 5 (or so) Adobe Premiere Pro CS6 features

There's a lot packed into the upgrade. It's not perfect but it makes a big leap forward.

By Scott Simmons | April 12, 2012

The cat is out of the bag on the Adobe CS6 Production Premium. It isn’t shipping yet but I’ve been able test out some of the CS6 products for a few weeks now. While there’s big additions and changes in the entire Creative Suite my first and main focus was to see just how Premiere Pro has changed, what new features have been added and what hasn’t been addressed as of yet. Overall, Adobe continues to make Premiere Pro a better product that will let you "edit your way". It isn’t perfect (no NLE is perfect) but it’s a lot better than 5.5 … and 5.5 was pretty good itself. Here’s my top 5 (or so) features in Premiere Pro CS6 and a couple of comments on what is still missing. Please forgive some wonkieness on PVC if you're not seeing certain images as we've been having some server issues recently that they are working to fix. A reload of the page might help.

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Adobe Tips & Flicks recordings

recordings from 22February2012 Adobe Tips & Flicks seminar in Washington, DC

By Todd Kopriva | March 29, 2012

Recently, Adobe and our partners sponsored "Adobe Tips & Flicks", a seminar in which luminaries from the video production and post-production industry shared tips about their workflows using Adobe tools.Here are links to the individual recordings for the sessions: Read More

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Act of Valor world premiere with Navy SEALs

By Michelle Gallina | February 16, 2012

Monday, February 13th marked the world premiere of feature film Act of Valor at the legendary Cinerama Dome on Sunset Boulevard in the heart of Hollywood. Produced by the Bandito Brothers, Act of Valor is inspired by real-life events and, for the first time ever, stars active duty United States Navy SEALs. Among the premiere attendees were many of the Navy's finest, and press and paparazzi lined the carpet where customary Hollywood red carpet was replaced by United States Navy blue. Just before the throngs were let into the theater, the crowd welcomed in six VIP guests whose entrance was unique. Read More

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Accelerate your RED workflow with Adobe Premiere Pro CS5.5

Thursday, February 23, 2012, 10AM Pacific Time

By Michelle Gallina | February 13, 2012

Adobe and RED have collaborated to bring a truly native, color-rich, 4K tapeless workflow to Adobe Premiere Pro CS5.5. Join this webinar to learn how you can enable a robust workflow for editing, grading, and delivering native R3D footage in real time using Premiere Pro. See Wes Howell and Ted Schilowitz step through the RED editing workflow in Premiere Pro, including selecting RED sequence presets, quickly importing clips without transcoding or rewrapping, switching playback resolutions to meet the performance and image quality needs of every post-production task, adjusting the look of your sequence through extensive controls for RED RAW footage, and outputting it to virtually any format.Click here to register for the event. Read More

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Adobe teases Prelude at the San Francisco Supermeet, FCPUG changes its name

The Adobe sneak looks intriguing. Makes me excited for CS6.

By Scott Simmons | January 28, 2012

From the looks of Twitter last night there were a couple of surprises at the Friday evening's San Francisco Supermeet. First bit of news I saw was that Final Cut Pro User Group (FCPUG) has decided to drop the Final Cut Pro designation from their name to become the Creative Pro User Group. Second was a sneak peek from Adobe about a new application called Prelude.

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How technology is influencing storytelling and filmmaking

Watch the discussion unfold from award-winning panelists

By Michelle Gallina | January 27, 2012

Academy-award winning VFX Supervisor Rob Legato (Hugo, Titanic), and filmmakers/directors Vincent Laforet (Revelry, Mobius), and Jacob Rosenberg (Act of Valor, Waiting for Lightning) discuss the changing world of filmmaking. Moderated by Sharlto Copley (District 9), panelists dive into a discussion on the digital advances in filmmaking technology and innovative techniques to create engaging, thought-provoking work on any budget. Read More

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Update Alert: FxFactory 3.0

A solid update to the popular plug-in tool brings new effects, new development partners including Nattress

By Scott Simmons | January 12, 2012

A big update just hit the Final Cut Pro / Adobe After Effects world this week with Noise Industries FxFactory 3. This update to the popular plug-in architecture introduces not just a lot of new effects but a new interface to the actual FxFactory program. This release sees an interesting new color correction tool from Yanobox and the first FxFactory tools from Nattress and an FCPX only transition package from idustrial revolution. Read More

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After Effects CS5.5.1: no auto update

If you waited for later, that's now.

By Rich Young | December 16, 2011

Sure, Todd Kopriva said "This update is not available through the automatic update mechanism" in his notice on the After Effects CS5.5.1 update. For at least a few of us though, this update fell through the cracks, as we assumed that automatic update would happen eventually through Adobe Application Manager. Read More

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NVIDIA Maximus and Adobe Premiere Pro CS5.52

By Dennis Radeke | December 13, 2011

With the advent of version 5.52 of Premiere Pro, Adobe offered support for what NVIDIA calls Maximus on the PC platform. Maximus in essence is a Quadro card combined with a Tesla card. Okay, what's a Tesla card? Basically, it's a Quadro card without the display outputs - essentially, a headless GPU processing powerhouse.I wanted to take what I had done with the NVIDIA Quadro card comparison and apply the same tests to the Maximus card set I have. Read on, to learn the results.My previous blog entry is here - give it a read if you haven't gone through it yet. To review, I have a HP Z800 that is a couple of years old but still pretty solid all the way around. For my Maximus test, I took the comparatively lowly Quadro 2000 and matched it up with the Tesla C2075. Read More

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Clean those Adobe Media Cache Files

And reclaim some drive space in the process

By Scott Simmons | December 10, 2011

I learned something today about Adobe Premiere Pro that I was unaware of. The application creates a media cache when it imports media and that media cache seems to default to the system drive in the user Library folder. This cache can balloon in size over a period of time as I found out when cleaning up a drive. But it can be easily cleaned and relocated. Read More

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Let’s talk Avid Media Composer 6

How does it compare with the other NLE approaches?

By Terence Curren | December 08, 2011

In this latest episode of The Terence & Philip Show, Philip and I discuss the different approaches manufacturers have taken to updating their NLEs to 64bit modern architectures. Focusing heavily on Media Composer 6, Avid's just-released 64 bit update to the venerable Media Composer.Click the link below and join the conversation. Read More

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On the set of Vincent Laforet’s short film Möbius

Learn how Adobe CS 5.5 Production Premium handled the cutting edge demands of Vincent Laforet's short film Möbius.

By Michelle Gallina | December 05, 2011

On December 8 writer, producer and vfx artist Jon Carr presented how his team leveraged the capabilities of Adobe Creative Suite 5.5 Production Premium to help complete the short film Möbius edited by Vashi Nedomansky and directed by Vincent LaFloret.Here is a recording of the session.You can watch Möbius here: http://vimeo.com/31525127Möbius was shot using a prototype of the new Canon EOS C300 camera and was edited using Adobe Premiere Pro with effects shots produced using Adobe After Effects. Also integral to post production process were Adobe Story, Adobe Photoshop Extended and Adobe Media Encoder.Here are some highlights from Jon's presentation:Adobe Story> Plays nicely with other popular screenwriting tools such as Final Draft> The collaboration features of Adobe Story allowed Jon and his co-writer Justin Hamilton to share the script, mark up and make comments and have a dialog about needed changes.> The outline view lists scenes and uses color-coded dots to identify characters used in each scene. This feature helped Jon's team save money by identifying a scene requiring a single actor that could be rewritten to instead not use that character.Adobe Premiere Pro> Editorial started with 18 hours of source material and a tight schedule so editor Vashi Nedomansky was able to pass Adobe Premiere Pro project files back and forth with other team members to help identify selects and speed the editing process.> Other NLEs would have required the C300's Canon XF media to be transcoded before it could be edited, but Adobe Premiere Pro was able to work with the media natively so no transcoding was necessary. Read More

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Resources for Choosing a Graphics Card for Adobe Premiere Pro

a few articles that give information on which to base a buying decision

By Todd_Kopriva | November 23, 2011

We get asked a lot about what kind of hardware to buy for optimum performance for Adobe Premiere Pro (and After Effects). In fact, we get asked so often, that we've put together this brief FAQ entry:"FAQ: What computer and components should I buy for Premiere Pro or After Effects?" Read More

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The Adobe Premiere Pro timeline for Final Cut Pro users

Editors spend so much time in the timeline it's worth an in-depth look

By Scott Simmons | November 07, 2011

When working in a non-linear editing application the editor spends many, many hours working in the timeline. Boy do we spend a lot of hours working in the timeline. If you're moving from Final Cut Pro 7 to Adobe Premiere Pro 5.5 then you won't be totally lost as there are a lot of similarities between the two application's timelines. But there are some important differences as well. Let's take a closer look at the Premiere Pro timeline if you're moving from FCP 7. Did I mention how much time editors spend working in the timeline? Read More

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Adobe really is open

Automatic Duck co-founder Wes Plate talks about his past, present, and future with Adobe.

By Todd Kopriva | November 04, 2011

Last month, it was announced that Automatic Duck, makers of popular plug-ins for exchanging timelines between After Effects, Avid, Final Cut Pro, Pro Tools, and more, had partnered with Adobe to bring best-of-class interchange technology to Adobe Premiere Pro and Production Premium. As the President and co-founder of Automatic Duck, Inc., I was invited to join the team at Adobe and put my experience and ideas to work on the future of the suite. Read More

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