Act of Valor world premiere with Navy SEALs

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.

Accelerate your RED workflow with Adobe Premiere Pro CS5.5

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.

How technology is influencing storytelling and filmmaking

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.

NVIDIA Maximus and Adobe Premiere Pro CS5.52

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.

On the set of Vincent Laforet’s short film Möbius

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/31525127

Möbius 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.

Resources for Choosing a Graphics Card for Adobe Premiere Pro

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?”

Adobe really is open

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.

David Dessel’s personal transition to Adobe Premiere Pro

Recently, David Dessel described his personal reasons for moving his work from Final Cut Pro to Adobe Premiere Pro. You can watch his presentation and learn about what factors motivated his transition here:
“Confessions of a switcher, with David Dessel”

If you want to learn more about Adobe Premiere Pro, check out these resources:

• Premiere Pro resources for Final Cut Pro and Avid Media Composer users
• FAQ: How do I learn Premiere Pro?

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