In December 2011, the 12th quadrennial Arab Games took place in Doha, Qatar at Khalifa International Stadium. As part of the planning process for the Doha games, the world-renowned event production agency, David Atkins Enterprises (DAE), was commissioned to conceive and produce the opening and closing ceremonies. Following this commission, DAE contracted Australian digital design and video production specialists, Digital Pulse, to produce the animated visuals for the opening ceremony including the athletes’ parade and cultural segments. Far from a conventional production canvas, the animated visuals that the Digital Pulse team were to produce for the event would have to play seamlessly across the stadium’s two different playback systems: a contiguous LED system installed behind all stadium seats and an 86-projector projection system that covered a world record 12,600 cubic metres of on-field projection space.

Here’s what you’ll see:
•How Adobe Creative Cloud helps you break down creative barriers and revolutionizes the art of video production.
•The redesigned Adobe Premiere Pro CS6—the hub of your post-production workflow. With a streamlined user interface, powerful new trimming tools, and other creative advancements, you’ll see why more and more professional editors are turning to Adobe Premiere Pro.
•A faster, more productive After Effects CS6 featuring new features such as Global Performance Cache and the 3D Camera Tracker that add up to what is rumored to be the biggest After Effects release in a decade.
•Creative magic in imaging with new Content Aware tools and the fastest performance ever in Photoshop CS6.
•New features in Adobe Story and Adobe Audition, as well as brand new tools into the video lineup: Adobe Prelude, a tool created specifically for logging and ingest, and Adobe SpeedGrade, a forward-looking approach to color grading and finishing.

Get Expert Training
Dive deeper into each component of CS6 Production Premium. Learn from industry experts how you can migrate to Adobe Premiere Pro from another editor, optimize your hardware for peak performance, gain color correction tips & tricks, and more. On-site training is available at New York, Washington DC, and LA venues. Lunch will be provided to all training attendees. Register now and receive the early bird pricing of $200!

Giveways and Savings
Get 15% off all CS6 Production Premium products when you sign up for training. And all attendees will be eligible to win an HPZ1 Workstation.

Reserve your spot now!

The reveal of Adobe Creative Suite 6 Production Premium was a huge success at NAB and won top awards from five of the leading industry organizations at the show.

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.

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.

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.

Here are links to the individual recordings for the sessions:

Click here to register for the event.

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.

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.

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?

In this Ask a CS Pro session, Richard Harrington will provide an introduction to the Timeline panel in Adobe Premiere Pro.

Richard will demonstrate basic editing techniques, such as insert, overwrite, ripple, and roll edits. He’ll then move on to demonstrate the more advanced and powerful features in the Adobe Premiere Pro Timeline panel, including using a replace edit, creating custom transitions, and using Adobe Dynamic Link to exchange files with Adobe After Effects and Audition.

Click here for information and to register for this online seminar.

About Richard Harrington:

Richard Harrington is the founder of RHED Pixel in Washington, DC (http://www.RHEDPixel.com). Richard is the co-author of the new book and DVD, An Editor’s Guide to Adobe Premiere Pro. He is also the host of Creative COW’s Premiere Pro video podcast. To find out more, follow Rich on Twitter @rhedpixel or visit his blog (http://www.RichardHarringtonBlog.com).

Join us this Friday, 26 August, at 12 noon Pacific Time in our Connect Room:
http://my.adobe.acrobat.com/askcspro

(session start time for other time zones)

The room will open 15 minutes before the session starts. At this time, please sign in as a guest to join.

About Colin Smith:

As Senior Solutions Engineer DMO with more than 14 years of experience at Adobe, Colin travels across North America evangelizing Adobe software to individuals, corporations, and professional associations. Mr. Smith is a certified Adobe expert in Acrobat and Creative Suite. He is a frequent speaker at Adobe’s customer seminars, providing tutorials for business communicators, graphic designers, print professionals, and video and audio producers and editors. He also appears regularly on television and radio stations in major cities in Canada, including CP24 in Toronto, A-Channel in Ottawa, and CKNW in Vancouver.

Mr. Smith also works closely with law enforcement agencies to leverage Photoshop and other Adobe technologies to fight crime. An avid music composer, video producer and photographer, Colin expresses his artistic voice through multiple media: music recordings, web sites, and digital photography and video.

Join us this Friday, August 12th, at noon Pacific Time in our Connect room.

(session start time for other time zones)

The room will open 15 minutes before the session starts. At this time, please sign in as a guest to join.

The session will be recorded, and the recording will be made available soon after the session ends.

Prior to the session, you can review these resources to help editors familiar with Avid and Final Cut Pro to learn Adobe Premiere Pro.

About Al Mooney
Al Mooney is the product manager for professional video editing at Adobe Systems Incorporated. He is responsible for defining, delivering, and supporting the overall feature set and functionality of Adobe Premiere Pro. Prior to this position, he was the Senior Business Development Manager for video and broadcast in the UK for Adobe. Before that, he worked for Apple as a Pro Video business development manager and for DigiDesign (part of Avid Technology) as a European sales specialist.

Andrew’s tutorials, especially, go far beyond just showing the UI controls in a specific piece of software. He also gives great advice that’s relevant to color correction with any tool, such as working in a room with constant lighting and frequently resetting your eyes to real-world neutral by looking away from the computer screen.

This eSeminar is free so mark your calendars for Friday, August 5, at 12 p.m. PT in the Adobe Connect Room: http://my.adobe.acrobat.co​m/askcspro. The room will open up 15 minutes before the session starts. At this time, please sign in as a guest to join.

Session start time for other time zones are here.

About Carey Dissmore:

Carey Dissmore is a television and media production professional with 25 years in the business. His work spans the broadcast news, entertainment, advertising, documentary and corporate ranges. He considers himself an editor first, with a heavy amount of motion graphics design as well. He uses an enormous number of tools but the biggies are Final Cut Pro, Adobe Premiere Pro, After Effects and the full Adobe suite. Carey is currently working on shows for Food Network and Spike TV, while also designing, editing and animating a series of corporate and medical projects.

Carey founded the International Media Users Group and the MediaMotion Ball at NAB, establishing it as a strong user community event that has been running since 1998. He is active on the MediaMotion IMUG and AE email lists that he helps administer.

Carey is principal of Carey Dissmore Productions, Inc., based in Minneapolis, MN.

Over the last few years, we’ve been working really hard on our NLE.  Way back in April 2010 we shipped our CS5 version, a natively 64-bit cross-platform application built on the Mercury Playback Engine. It was designed to make the absolute best out of modern computational resources, CPU and GPU optimized to its very core. It was a big and bold move in a crowded NLE market, but we felt we had the right foundations in place to start turning a few heads. And turn a few heads we did.

Last month, we shipped a major update to CS5 in CS5.5. I always talk about CS5.5 as building finesse on the solid foundations of CS5, and that was our aim. We had the engine and the chassis of a race-winning car, and now we needed to make it easier to drive. We did. We focused efforts on smoothing the path for people moving over from other NLEs, or those just trying out a new one. And more heads turned.

Then, last week, Apple shipped Final Cut Pro X. I’m not here to comment on Apple’s intentions or strategy, and I won’t. But I can say this: I’ve read and heard that many editors felt alienated with the release. And I didn’t have to look far to hear the disgruntlement. It’s all over the web. It ate my Twitter feed for two days. It was on Conan. It was actually on Conan.

And as a result, understandably perhaps, even more heads have turned to look at Premiere Pro. It’s a powerful NLE that’s intuitive to existing editors. It can open your Final Cut Pro 7 projects via XML. It supports all of your media natively. It performs beautifully, and it lets you edit the way you’ve learned to, using shortcuts you know and paradigms you’re comfortable with.

But the most important thing I want to say to all the newly turning heads is simply this: Adobe is committed making a modern, powerful, useable, professional NLE. In fact, we’re developing harder and faster than ever before. We will continue updating and improving Premiere Pro with regular, timely releases. We’ll continue striving to improve performance, to offer the best native format support possible, and to make the pure experience of just editing – in the way that you’ve learnt to – as intuitive and creative as possible.

I expect that the more you experiment with Premiere Pro, the more you’ll tell us where you’d like it to go next. There will always be bumps on the learning curve with an application new to you, just as there will be things you didn’t have before and wonder how you lived without. I just want you to know that we’re listening to you, the editors, and we aim to continue building an application that you love and can rely on.

This is going to be fun.

Jim Guerard, vice-president and general manager of Professional Video at Adobe, will also be available to discuss challenges and opportunities facing the production and broadcast industries today and how Adobe is equipped to help you meet those challenges.

If you’re interested in attending this event and want more information, please check it out here.

While our users’ goal of telling compelling stories doesn’t change, the reality of making content today is very different than a few years back—the world of tape compared with our file based reality today couldn’t be more different.  Adobe has added the concept of file-based workflows across the entire content creation cycle—from the first moment an idea comes into your head till the last glowing pixel fades on the device the consumer watches it on—Adobe is there. 

We call this “Plan to Playback” and our goal is to provide the essential tools you need across that spectrum (breadth), the specialized tools in specific areas you need to be more productive and creative (depth) and ensure that everything you do goes at full speed and can connect to any other tool you need to (Performance and Openness).