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Deadpool’s Adobe Premiere Pro
editing workflow
By Nicholas Restuccio

Director Tim Miller’s Deadpool is action-packed, vulgar (in a good way) and a ton of fun. It’s also one of the few Hollywood blockbusters to be edited entirely on Adobe’s Premiere Pro.

On the Saturday following the film’s release, Adobe hosted a panel on the Fox Studios lot that included Deadpool’s post supervisor Joan Bierman, first assistant editor Matt Carson and Adobe consultants Vashi Nedomansky and Mike Kanfer. Here are some takeaways…

Why Premiere Pro?
According to Bierman, much of the credit for choosing Premiere Pro for the edit goes to Tim Miller. “Even before we had a crew, Tim knew he wanted to do this,” she said. Miller, a first-time feature director is no stranger to technology — he is co-founder of Culver City’s Blur Studio, which specializes in visual effects and animation.
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Boris FX’s BCC 10 for Avid Media Composer
By Brady Betzel

I love plug-ins — Video CoPilot’s Element 3D, Red Giant’s Universe, Neat Video’s Noise Reduction and many more. There are some pros who like to pretend that they are too good for plug-ins or consider the use of plug-ins a crutch, but not this guy. I love them! Plug-ins make my job easier and more efficient.

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Quick Chat: East Coast Digital’s Stina
Hamlin on the VR Cardboard City

New York City-based East Coast Digital believes in VR and has set up its studio and staff to be able to handle virtual reality projects. In fact, they recently provided editorial, 3D animation, color correction and audio post on the 60-second VR short Cardboard City, co-winner of the Samsung Gear Indie VR Filmmaker Contest. The short premiered at the 2016 Sundance Film Festival.

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Quick Chat: Wildlife
DP Andy Casagrande

London’s Halo adds
dubbing suite

BCPC hosting doc
editing panel

Jennifer Lederman to
lead Nomad’s NYC office

G-Tech intros portable
G-Speed Shuttles

Stefanie Bassett joins
edit house Uppercut

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