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Adobe Premiere Pro makes the cut for film editors

Adobe Premiere Pro makes the cut for film editors 

As one of the industry’s leading video editing software programs, Adobe Premiere Pro has transformed the magic of filmmaking, through the artistry of editing, for films such as Deadpool, Hail! Caesar, Shin Godzilla, and more.

Film editors on Premiere Pro

“Film editors are essentially storytellers,” said Simone Smith, a prodigious indie movie, and short film editor. “Our role is a delicate balance. We’re trusted by the director to bring their vision to life but at the same time, directors also often expect us to inject our own point of view.”

Smith was among the trio of film editors who took part in the Art of the Edit industry conference. Her credits include the feature film Everyday is like Sunday, the short film Benjamin and the 2017 TIFF entry Never Steady, Never Still.

Smith’s films are usually sparse in the special effects department when compared with today’s superhero features. However, she is also used to working in small outfits wherein the special effects tasks could fall on her shoulders.

Adobe Premiere Pro makes it easier for her to do the transition.

“I like how fluid the controls are for Premiere Pro,” she said. “It allows you to flesh out the story with ease and you are able to edit with your gut and be intuitive without having to handle a lot of computations.”

She also said the application’s interface enables her to “experiment on the fly” using low-resolution files.

In contrast to Smith’s typical projects, California film editor, Tyler Nelson finds himself in the thick of big and complex productions.

He’s currently editing the Netflix TV drama Mindhunter. His other film credits include movies such as Gone Girl, The Revenant, Birdman, The Social Network, and The Girl with the Dragon Tattoo.

The go-to Adobe products for the outfits he works with are Adobe Premiere and visual effects software After Effects.

“Sometimes, there are projects where it seems every frame has some form of special effects,” he said.

Billy Fox seems to have done it all. The Los Angeles-based producer and film editor has been involved in TV series, mini-series, full-length feature films, you name it. He was consulting supervising producer in TV hits like Law & Order and Chicago Fire, co-producer of TV mini-series Band of Brothers.

His film credits include Footloose, Straight Outta Compton, and the upcoming biographical drama Only the Brave.

For Tyler, every project is a learning experience.

“Some directors will sit with you and watch over your shoulder as you edit frame-by-frame,” he said. “Others will stay a while and they let you alone.”

Some directors have a definite idea of what they want. “I want to see which of my ideas and vision get adopted,” he said.

Working on the drama based on the elite crew of forest firefighters that battled the 2013 Yarnell Hill Fire wherein 19 members of the crew died, Tyler said they were “very respectful with the family members.”

He said there were constant consultations with the families to make sure people and the story was being represented accurately.

There were lots of dramatic fire scenes, said Tyler. “Every shot was done in Adobe Premiere and After Effects.

In the end, the families felt the film agreed we did justice to the story and their loved ones, said Tyler.

What Tyler likes about Adobe is the way how the company’s experts are willing to collaborate with filmmakers and make changes to their product based on recommendations of its users.

“We know we have the support of Adobe and that takes a lot of pressure off our staff,” said Tyler. “I have been following Premier and it has been getting better.”

Meagan Keane, the senior product marketing manager for Adobe Premiere Pro, adds that one of the key advantages of the software is that it integrates with other Adobe products.

“The things that customers love are the integrated workflow, options for working on various types of files from raw to a proxy, and our support,” said Keane who was also a filmmaker before she joined Adobe.

Premiere Pro updates

Here are some of the recent updates on Adobe Premiere Pro:

VR effects – Traditional video effects used in fixed-frame content tend to not work properly when used in VR content. For example, a Gaussian blur used on a VR video would show stitching marks between camera fields.

Adobe is introducing features that allow Premiere Pro to render VR-effects properly. This will alleviate the need for frame-by-frame corrections.

Light Rays- This VR effect simulates the appearance of going through a wormhole.

Rotate Sphere- When moving from one shot that ends with a horizontal motion and entering another show that starts with the motion moving towards the viewers, the effect can be jarring. The Rotate Sphere tool remedies this by creating movement in the direction of the previous clip.

Close Gap option – A new close gap feature allows Premiere Pro users to automatically get rid of spaces between clips in a timeline. Before, users had to drag each flip following a duration change to touch the following clip. Users also had to remove the space between clips. Now they can highlight all of the separated clips key in Control or Command + G to group the clips and close the gaps.

Responsive Design Time – This feature allows users to set an intro and outdo duration for clips. This tells Premiere Pro which parts at towards beginning or end of a clip should not be touched when making certain changes to duration. This lessens the need to rework transitions because duration shifts will be done by trimming mid-film and not at the intro or outdo.

Team Project – This feature allows remote editors to collaborate on a project.

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