Category Archives: Collaboration

Foundry Nuke 11.3’s performance, collaboration updates

Foundry has launched Nuke 11.3, introducing new features and updates to the company’s family of compositing and review tools. The release is the fourth update to the Nuke 11 Series and is designed to improve the user experience and to speed up heavy processing tasks for pipelines and individual users.

Nuke 11.3 lands with major enhancements to its Live Groups feature. It introduces new functionality along with corresponding Python callbacks and UI notifications that will allow for greater collaboration and offer more control. These updates make Live Groups easier for larger pipelines to integrate and give artists more visibility over the state of the Live Group and flexibility when using user knobs to override values within a Live Group.

The particle system in NukeX has been optimized to produce particle simulations up to six times faster than previous versions of the software, and up to four times faster for playback, allowing for faster iteration when setting up particle systems.

New Timeline Multiview support provides an extension to stereo and VR workflows. Artists can now use the same multiple-file stereo workflows that exist in Nuke on the Nuke Studio, Hiero and HieroPlayer timeline. The updated export structure can also be used to create multiple-view Nuke scripts from the timeline in Nuke Studio and Hiero.

Support for full-resolution stereo on monitor out makes review sessions even easier, and a new export preset helps with rendering of stereo projects.

New UI indications for changes in bounding box size and channel count help artists troubleshoot their scripts. A visual indication identifies nodes that increase bounding box size to be greater than the image, helping artists to identify the state of the bounding box at a glance. Channel count is now displayed in the status bar, and a warning is triggered when the 1024-channel limit is exceeded. The appearance and threshold for triggering the bounding box and channel warnings can be set in the preferences.

The selection tool has also been improved in both 2D and 3D views, and an updated marquee and new lasso tool make selecting shapes and points even easier.

Nuke 11.3 is available for purchase — alongside full release details — on Foundry’s website and via accredited resellers.

Director Barry Jenkins on latest, If Beale Street Could Talk

By Iain Blair

If they handed out Oscars for shots of curling cigarette smoke, Barry Jenkins’ follow-up to his Oscar-winning Moonlight would win hands down. If Beale Street Could Talk looks certain to be an awards show darling, already picking up three Golden Globe nods — Best Drama Motion Picture, Best Screenplay for Jenkins and Best Supporting Actress for Regina King.

Based on the 1974 novel by writer and civil rights activist James Baldwin, it tells the story of a young black couple — Clementine “Tish” Rivers (KiKi Layne) and Alonzo “Fonny” Hunt (Stephan James) — who grow up together in Harlem and get engaged. But their romantic dreams soon begin to dissolve under the harsh glare of white authority and racism when Fonny is falsely accused of rape and thrown in jail, just as Tish realizes she is pregnant with their child.

While the couple is the focus of the film, the family drama also features a large ensemble cast that includes King as Tish’s mother and Colman Domingo as her father, along with Michael Beach, Brian Tyree Henry, Diego Luna, Pedro Pascal and Dave Franco.

Behind the camera, Jenkins reteamed with Moonlight cinematographer James Laxton, editors Nat Sanders and Joi McMillion, and composer Nick Britell.

I spoke with Jenkins about making the film and workflow.

Our writer Iain Blair with Barry Jenkins

It’s always a challenge to adapt an acclaimed novel for the screen. How tough was this one?
It was extremely tough, especially since I love James Baldwin so much. Every step of the way you’re deciding at which point you have to be completely faithful to the material and then where it’s OK to break away from the text and make it your own for the movie version.

I first read the novel around 2010, and in 2013 I went to Europe to get away and write the screenplay. I also wrote one for Moonlight, which then ended up happening first. This was a harder project to get made. Moonlight was smaller and more controllable. And this is told from a female’s perspective, so there were a lot of challenges.

What sort of film did you set out to make?
I wanted to take the energy of the novel and its lush romantic sensuality, and then pair it with the more biting, bitter social commentary of Baldwin’s non-fiction work. I see film as a very malleable art form, and I felt I could build it. So at times it could be extremely lush and beautiful — even distractingly so — but then it could turn very dark and angry, and contain all of that.

The film was shot by your go-to cinematographer James Laxton. Talk about the look you wanted and how you got it.
There are a lot of cinema references in Moonlight, but we couldn’t find many for this period set in this sort of neighborhood. There are nods to great directors and stylists, like Douglas Sirk and Hou Hsiao-hsien, but we ended up paying more attention to stills. We studied the work of the great photographers Roy DeCarava and Gordon Parks. I wanted it to look lush and beautiful.

You shot on location, and it’s a period piece. How hard was that?
It was pretty challenging because I’m the kind of guy — and James is too — where we like to have the freedom to point the camera anywhere and just shoot. But when you’re making a period film in New York, which is changing so fast every damn day, you just don’t have that freedom. So it was very constricting, and our production designer Mark Friedberg had to be very inventive and diligent about all the design.

Where did you post?
We split it between New York and partly in LA. We cut the whole film here in LA at this little place in Silverlake called Fancy Post, and did all the sound mix at Formosa. Then we moved to New York since the composer lives there, and we did the DI at Technicolor PostWorks in New York with colorist Alex Bickel, who did Moonlight. We spent a lot of time getting the look just right — all the soft colors. We chose to shoot on the Alexa 65, which is unusual for a small drama, but we loved the intimacy it gave us.

You reteamed with your go-to editors Nat Sanders, who’s cut all three of your films, and Joi McMillion, who cut Moonlight with Nat. Tell us how it worked this time.
Fancy Post is essentially a house, so they each had their own bedroom, and I’d come in each day and check on their progress. Both of them were at film school with me, and we all work really well together, and I love the editing process.

Can you talk about the importance of music and sound in the film?
Sound has always been so important to me, ever since film school. One of my professors there was Richard Portman, who really developed the overlapping, multi-track technique with Robert Altman.  I’ll always remember one of the first things he said to us about the importance of sound: a movie is 50 percent image and 50 percent sound, not ninety-five percent image and five percent sound. So that’s how I approach it.

We had a fantastic sound team: supervising sound editor Onnalee Blank and re-recording mixer Matt Waters. They usually do these huge projects with dragons and so on, like Game of Thrones, but they also do small dramas like this. They came on very late, but did incredible, really detailed work with all the dialogue. And there’s a lot of dialogue and conversation, most of it in interiors, and then there’s the whole soundscape that they built up layer by layer, which takes us back in time to the 1970s. They mixed all the dialogue so it comes from the front of the room, but we also created what we called “the voice of God” for all of Tish’s voiceovers.

 

In this story she really functions as the voice of James Baldwin, and while the voiceovers are in her head, we surround the audience with them. That was the approach. Just as with Moonlight, I feel that a film’s soundscape is beholden to the mental states and consciousness of the main characters, and not necessarily to a genre or story form. So in this, composer Nick Britell and I both felt that the sound of the film is paced by how Tish and Fonny are feeling. That opened it up in so many ways. Initially, we thought we’d have a pure jazz score, since it suited the era and location, but as we watched the actors working it evolved into this jazz chamber orchestra kind of thing.

This is obviously not a VFX-driven piece, but the VFX must have played a role in the final look. What was involved?
Crafty Apes in LA and Phosphene and Significant Others in New York did it all, and we had some period stuff, clean up and some augmentation, but we didn’t use any greenscreens on set. The big thing was that New York in the ‘70s was much grittier and dirtier, so all the graffiti on the subway cars was VFX. I hadn’t really worked much with visual effects before, but I loved it

There’s been so much talk in Hollywood about the lack of diversity — in front of and behind the camera. Do you see much improvement since we last spoke?
Well, look at all the diverse films out last year and now this year — Green Book, The Hate U Give, Black Panther, Widows, BlacKkKlansman — with black directors and casts. So there has been change, and I think Moonlight was part of a wave, increasing visibility around this issue. There’s more accountability now, and we’re in the middle of a cycle that is continuing. Change is a direction, not a destination.

Barry Jenkins on set.

We’re heading into awards season. How important are they for a film like this?
Super important. Look, Moonlight would not have had the commercial success it had if it hadn’t been for all the awards attention and talk.

Where do you keep your Oscar?
I used to keep it on the floor behind my couch, but I got so much shit about keeping it hidden that now it sits up high on a speaker. I’m very proud of it.

What’s next?
I’m getting into TV. I’m doing a limited series for Amazon called The Underground Railroad, and we’re in pre-production. I’ve got a movie thing on the horizon, but my focus is on this right now.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

DigitalGlue 12.3

Behind the Title: Exile Editor Kyle Brown

With recent spot work that includes jobs for Comcast, AT&T, T-Mobile and Trojan, this editor jokes, “A good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.”

Name: Kyle Brown

Company: New York- and Santa Monica-based Exile

Can you describe your company?
Exile is a bicoastal editorial and finishing boutique with spaces on both coasts.

What’s your job title?
Offline editor, with a splash of camp counselor.

What does that entail? 
As an offline editor, I take the footage that was shot and assemble it based on the script and creative vision honed on set, adding in tone and texture, rhythm and pacing. Basically, editors are given all the raw material that has been created and we turn it into a visual experience.

What’s great about editorial is you have to be honest — the footage is shot, you have what you have and nothing more, and now you have to take what’s there and stitch it together. If something does not work, you move on and make something else work. You can’t hide in the edit. You can’t say we will fix it in post. You are post! It’s the finish line, and all the preparation and hard work on the front end pays off in the edit bay. It has to.

Kyle Brown cut this Bud Light spot.

What would surprise people the most about what falls under that title?
Editor can be a catch-all title — we cut music, add sound effects, edit story and script. We do rough effects, we scratch voiceover and build title lock-ups. It really feels like DIY filmmaking at times, when you’re adding lines or building some crazy comp of two scenes to get the desired reaction or pause.

What’s your favorite part of the job?
Problem solving, seeing an edit work and happy accidents. I still get a kick out of an edit working, feeling a joke land or a punch connect. To be a part of movie magic is still a dream come true. I like to rough cut with my gut. I slam things together to have something to react to, and sometimes the best happy accidents come from that. I also enjoy all of the creative challenges that I’m faced with. A client might have a note that seems like a far-out ask, but the answer is always there. Edits can be a puzzle, and I like that.

What’s your least favorite?
This answer, I’m sure will not be popular… but watching dailies. I watch every frame, I swear. Part of my job is knowing all that is there and being able to recall and find it quickly. But nine times out of 10, when I’m watching dailies I have to take a break halfway through and edit a sequence or scene. It’s hard to see something you get excited by and not just start cutting it. Dailies look different after you have done a rough cut; they mean different things and usually give better solutions. So a lot of times, I cut, then I go back and review.

If you didn’t have this job, what would you be doing instead?
Double agent. Ok, I’m not that cool. Let’s say, schoolteacher.

Why did you choose this profession?
I think I love editing because I did not choose it. I actually stumbled into it. I’ve learned so much through it, as cheesy as it sounds. It’s helped me grow and achieve my goals, not only in work but in life, and it still does. I think is crazy and exciting that I do it for a living. Through necessity and curiosity, something that I fell into — without ever going through the traditional route of assistant editor — has given me a career that allows me to scratch my creative itch. I’m very lucky.

Trojan

Can you name some recent projects you have worked on?
Lately, I’ve mostly been doing commercials: spots for Comcast, AT&T, T-Mobile and Trojan. So, basically, a good Netflix and chill Tinder date was made possible thanks to the results of my commercial work.

You have worked on all sorts of projects. Do you put on a different hat when cutting for a specific genre?
I have been lucky enough to have worked in a wide variety of genres — from comedy to docs to music videos — but I try to tackle all storytelling the same way: I work around a key moment or idea and fill in the blanks on how to get there. The best example I can use is music videos. I like to find that great part of the track, cut the visual to it, then work backwards to get to that point. This allows me to use each edit to get to the intent of that key moment. The same can be said for a good physical gag or joke. Getting that moment to land, then using what’s around it to make it work harder.

What do you use to edit?
I was a diehard Final Cut Pro guy, but then when the bottom fell out, so I switched to Avid Media Composer for the challenge. I also use Adobe Premiere, on occasion. Over the years, I’ve found that whatever I’m fastest on, meaning getting my thoughts to the screen quickest, is what works best for me. I am sure a new workflow or program will come along, and I make sure that I’m always able to adapt.

You mentioned earlier, that sometimes you provide more than just the cut. Can you talk about that?
I’ve rewritten scripts, done some finishing work, done After Effects work, been the VO artist and, sometimes, I even act as the account person to help sell something through to a client. Of course, there are people that do all these things professionally and are experts at their job, but I feel like in an edit bay we’re all there together trying to hit the deadlines with the best piece in hand, and that means we all dive in. No one can be precious about their roles; we have to be precious about our goals.

Name three pieces of technology you can’t live without.
Copy and paste (seriously whoever invented that is a god), Spell Check and coffee makers.

What do you do to de-stress from it all?
Cook. I can’t think of editing when I’m burning stuff.


Technicolor welcomes colorists Trent Johnson and Andrew Francis

Technicolor in Los Angeles will be beefing up its color department in January with the addition of colorists Andrew Francis and Trent Johnson.

Francis joins Technicolor after spending the last three years building the digital intermediate department of Sixteen19 in New York. With recent credits that include Second Act, Night School, Hereditary and Girls Trip. Francis is a trained fine artist who has established a strong reputation of integrating the bleeding edge of technology in support of the craft of color.

Johnson, a Technicolor alumnus, returns after stints as a digital colorist at MTI, Deluxe and Sony Colorworks. His recent credits include horror hits Slender Man and The Possession of Hannah Grace, as well as comedies Overboard and Ted 2.

Johnson will be using FilmLight and Resolve for his work, while Francis will toggle between Resolve, BaseLight and Lustre, depending on the project.

Francis and Johnson join Technicolor LA’s roster, which includes Pankaj Bajpai, Tony Dustin, Doug Delaney, Jason Fabbro, recent HPA award-winner Maxine Gervais, Michael Hatzer, Roy Vasich, Tim Vincent, Sparkle and others.

Main Image: Trent Johnson and Andrew Francis


Director Peter Farrelly gets serious with Green Book

By Iain Blair

Director, producer and writer Peter Farrelly is best known for the classic comedies he made with his brother Bob: Dumb and Dumber; There’s Something About Mary; Shallow Hal; Me, Myself & Irene; The Three Stooges; and Fever Pitch. But for all their over-the-top, raunchy and boundary-pushing comedy, those movies were always sweet-natured at heart.

Peter Farrelly

Now Farrelly has taken his gift for heartfelt comedy and put his stamp on a very different kind of film, Green Book, a racially charged feel-good drama inspired by a true friendship that transcended race, class and the 1962 Mason-Dixon line.

Starring Oscar-nominee Viggo Mortensen and Oscar-winner Mahershala Ali, it tells the fact-based story of the ultimate odd couple: Tony Lip, a bouncer from The Bronx and Dr. Don Shirley, a world-class black pianist. Lip is hired to drive and protect the worldly and sophisticated Shirley during a 1962 concert tour from Manhattan to the Deep South, where they must rely on the titular “Green Book” — a travel guide to safe lodging, dining and business options for African-Americans during the segregation era.

Set against the backdrop of a country grappling with the valor and volatility of the civil rights movement, the two men are confronted with racism and danger as they challenge long-held assumptions, push past their seemingly insurmountable differences and embrace their shared humanity.

The film also features Linda Cardellini as Tony Vallelonga’s wife, Dolores, along with Dimiter D. Marinov and Mike Hatton as two-thirds of The Don Shirley Trio. The film was co-written by Farrelly, Nick Vallelonga and Brian Currie and reunites Farrelly with editor Patrick J. Don Vito, with whom he worked on the Movie 43 segment “The Pitch.” Farrelly also collaborated for the first-time with cinematographer Sean Porter (read our interview with him), production designer Tim Galvin and composer Kris Bowers.

I spoke with Farrelly about making the film, his workflow and the upcoming awards season. After its Toronto People’s Choice win and Golden Globe nominations (Best Director, Best Musical or Comedy Motion Picture, Best Screenplay, Best Actor for Mortensen, Best Supporting Actor for Ali), Green Book looks like a very strong Oscar contender.

You told me years ago that you’d love to do a more dramatic film at some point. Was this a big stretch for you?
Not so much, to be honest. People have said to me, “It must have been hard,” but the hardest film I ever made was The Three Stooges… for a bunch of reasons. True, this was a bit of a departure for me in terms of tone, and I definitely didn’t want it to get too jokey — I tend to get jokey so it could easily have gone like that.  But right from the start we were very clear that the comedy would come naturally from the characters and how they interacted and spoke and moved, and so on, not from jokes.

So a lot of the comedy is quite nuanced, and in the scene where Tony starts talking about “the orphans” and Don explains that it’s actually about the opera Orpheus, Viggo has this great reaction and look that wasn’t in the script, and it’s much funnier than any joke we could have made there.

What sort of film did you set out to make?
A drama about race and race relations set in a time when it was very fraught, with light moments and a hopeful, uplifting ending.

It has some very timely themes. Was that part of the appeal?
Absolutely. I knew that it would resonate today, although I wish it didn’t. What really hooked me was their common ground. They really are this odd couple who couldn’t be more different — an uneducated, somewhat racist Italian bouncer, and this refined, highly educated, highly cultured doctor and classically trained pianist. They end up spending all this time together in a car on tour, and teach each other so much along the way. And at the end, you know they’ll be friends for life.

Obviously, casting the right lead actors was crucial. What did Viggo and Mahershala bring to the roles?
Well, for a start they’re two of the greatest actors in the world, and when we were shooting this I felt like an observer. Usually, I can see a lot of the actor in the role, but they both disappeared totally into these characters — but not in some method-y way where they were staying in character all the time, on and off the set. They just became these people, and Viggo couldn’t be less like Tony Lip in real life, and the same with Mahershala and Don. They both worked so hard behind the scenes, and I got a call from Steven Spielberg when he first saw it, and he told me, “This is the best buddy movie since Butch Cassidy and the Sundance Kid,” and he’s right.

It’s a road picture, but didn’t you end up shooting it all in and around New Orleans?
Yes, we did everything there apart from one day in northern New Jersey to get the fall foliage, and a day of exteriors in New York City with Viggo for all the street scenes. Louisiana has everything, from rolling hills to flats. We also found all the venues and clubs they play in, along with mansions and different looks that could double for places like Pennsylvania, Ohio, Indiana, Iowa, Missouri, Kentucky, Tennessee, as well as Carolinas and the Deep South.

We shot for just 35 days, and Louisiana has great and very experienced crews, so we were able to work pretty fast. Then for scenes like Carnegie Hall, we used CGI in post, done by Pixel Magic, and we were also amazingly lucky when it came to the snow scenes set in Maryland at the end. We were all ready to use fake snow when it actually started snowing and sticking. We got a good three, four inches, which they told us hadn’t happened in a decade or two down there.

Where did you post?
We did most of the editing at my home in Ojai, and the sound at Fotokem, where we also did the DI with colorist Walter Volpatto.

Do you like the post process?
I love it. My favorite part of filmmaking is the editing. Writing is the hardest part, pulling the script together. And I always have fun on the shoot, but you’re always having to make sure you don’t screw up the script. So when you get to the edit and post, all the hard work is done in that sense, and you have the joy of watching the movie find its shape as you cut and add in the sound and music.

What were the big editing challenges, given there’s such a mix of comedy and drama?
Finding that balance was the key, but this film actually came together so easily in the edit compared with some of the movies I’ve done. I’ll never forget seeing the first assembly of There’s Something About Mary, which I thought was so bad it made me want to vomit! But this just flowed, and Patrick did a beautiful job.

Can you talk about the importance of music and sound in the film.
It was a huge part of the film and we had a really amazing pianist and composer in Kris Bowers, who worked a lot with Mahershala to make his performance as a musician as authentic as possible. And it wasn’t just the piano playing — Mahershala told me right at the start, “I want to know just how a pianist sits at the piano, how he moves.” So he was totally committed to all the details of the role. Then there’s all the radio music, and I didn’t want to use all the obvious, usual stuff for the period, so we searched out other great, but lesser-known songs. We had great music supervisors, Tom Wolfe and Manish Raval, and a great sound team.

We’re already heading into the awards season. How important are awards to you and this film?
Very important. I love the buzz about it because that gets people out to see it. When we first tested it, we got 100%, and the studio didn’t quite believe it. So we tested again, with “a tougher” audience, and got 98%. But it’s a small film. Everyone took pay cuts to make it, as the budget was so low, but I’m very proud of the way it turned out.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


First Man: Oscar-winning director Damien Chazelle

He talks about his most recent film, First Man

By Iain Blair

It’s been two years since I spoke to writer/director Damien Chazelle for postPerspective about his film La La Land. While he only had three feature films on his short resume at the time, he was already viewed by Hollywood as a promising major talent.

That promise was fulfilled in a big way when La La Land — a follow-up to his 2014 release Whiplash (which received five Oscar noms, including Best Picture and Best Adapted Screenplay for Chazelle) — earned 14 Academy Award nominations, winning six awards, including Best Director for Chazelle. He was the youngest to receive the award. The film also won a record-breaking seven Golden Globe Awards and was honored with five BAFTA wins and 11 nominations.

Damian Chazelle working with DP Linus Sandgren on the set of “First Man.”

Recently, Chazelle reteamed with that film’s star, Ryan Gosling, who plays astronaut Neil Armstrong in Universal Pictures’ First Man, the story behind the first manned mission to the moon. Focusing on Armstrong and the decade leading to the Apollo 11 flight, it’s an intimate account that puts the audience squarely inside the planes and rockets, fully immersing the viewer in the exciting and terrifying test flights and space missions.

Based on the book by James R. Hansen, the film also explores the triumphs and the cost — on Armstrong, his family, his colleagues and the nation itself — of one of the most dangerous missions in history.

The film co-stars Claire Foy, as the unsung hero Janet Armstrong, and a supporting cast that includes Jason Clarke, Kyle Chandler, Patrick Fugit, Ethan Embry, Pablo Schreiber, Christopher Abbott and Corey Stoll.

Written by Academy Award-winner Josh Singer (Spotlight, The Post) — with Steven Spielberg as an executive producer — the film also reunites Chazelle with his Oscar-winning cinematographer Linus Sandgren (American Hustle), Oscar-winning editor Tom Cross (Whiplash) and Oscar-winning composer Justin Hurwitz (Whiplash). The director also teamed for the first time with Oscar-winning visual effects supervisor Paul Lambert (Blade Runner 2049, The Huntsman: Winter’s War).

I recently talked to Chazelle about making the film, which has already generated a lot of Oscar buzz, and his love of editing and post.

What sort of film did you set out to make?
I wanted to strip away the mythology a bit, as it’s very easy to forget these are real human beings who risked their lives in glorified sardine cans. It was a time before personal computers, and they were using technology that seems so antiquated now. It was about figuring out the edges of their potential. To me it felt like a story of resilience and sacrifice that was really worth telling, and my hope was to make it totally immersive. I wanted it to feel like you’re right there — in the capsules, in the test flights, wherever the characters are. I wanted to give it a feel of being almost like virtual reality.

What were the main technical challenges in pulling it all together?
The big thing was, we all wanted to get it technically right, down to the very smallest details, so all the help we got from NASA was invaluable. And first, we had to deal with the sheer density of material. There was so much knowledge we had to quickly gain in order to reflect it accurately. There was so much research and trips to landing sites and space museums, and meeting and talking to former colleagues and former astronauts. We also got the input and support of Neil’s sons and family. Then there was a lot of prep time where our production designer Nathan Crowley started designing and building all the spacecraft pretty much to scale.

How early on did you start integrating post and all the VFX?
Right away, but Nathan and I agreed that we should do as many of the VFX as in-camera as possible rather than using greenscreen, so we used a lot of full-scale models and also some miniatures. We used gimbals, motion-control and LED technology and some other in-camera effects, so the result felt like a very physicalized approach. I thought really suited the subject matter. I didn’t want to glamorize it, but show just how raw and tough it all was.

We looked at a lot of archival footage, and I storyboarded every scene in space and then made animatics set to Dustin’s music, so it gave us a very precise sense of, “OK, this is the shot. How are we going to do this other shot? How are we going to combine this effect with that one?” It was figuring out the methodology, shot by shot, and we had lots of multi-departmental meetings around tables with models and art work laid out. This allowed us to walk each other through the process. It was a bit like a relay race.

Can you talk about how you collaborated again with Linus Sandgren?
He did such a beautiful job on La La Land, and I knew what he was capable of, so it was great to collaborate with him and watch him work on this bigger canvas. He was able to tackle all the technical challenges, yet he was also always able to ensure that his photography had humanity to it. The human beings are at the center of it all, and he captured all the emotions in their faces, all the poetic moments in between all the big set pieces. He’s always searching for those things, which is what I love about his work. He built special light rigs for scenes with the sun, and then we shot the moon sequences at this gray-colored quarry near Atlanta, which we then sculpted.

To get that harsh lunar light, he developed the biggest film light ever built — around 200,000 watts. That gave us that black sky look and stark shadows. We also did a lot of testing of formats to figure out what the balance should be because we planned to shoot a lot in 16mm, some in 35mm, and then all the moon stuff in IMAX. All the transitions were important in telling the story.

(See your interview with Sandgren about his work on La La Land here.)

Where did you post?
All on the Universal lot in LA, including the sound mix.

Do you like the post process?
I love it, especially the editing. It’s my favorite part of the whole process, and where it all comes together.

Talk about editing with your go-to guy Tom Cross. What were the big editing challenges?
The big one was the huge amount of film I shot — two million feet — and a short editing schedule, shorter than La La Land. So figuring out how to take all that, and a lot of it was documentary style, and wrangle it into a narrative space and make the movie feel visceral, kinetic and propulsive was very challenging. Then finding the balance between the big set pieces in space and the quiet moments at home was demanding, but Tom’s so good at that and finding gems. Our first cut was over three hours long, so we had to cut a lot and find the most economical ways to work through the footage. This wasn’t like our last film, which was full of cuts and close ups. This was more a first-person point of view, and we had to edit in a way that gave clarity, structure and a kineticism to make it feel like this one big breathless ride.

All the VFX play a big role. Can you talk about working on them with visual effects supervisor Paul Lambert.
He was there right from the start, and he also designed all of the in-camera effects, and he’d refer to it as “doing the VFX in prep rather than leaving them all to post.” We used archival footage projected onto LED screens through the windows of the spacecraft, and that gave us our backgrounds. We didn’t have a lot of CG stuff created from scratch, but there was a lot of fine-tuning and finessing, so it was a big endeavor both in prep and post. But it never felt like that kind of effects movie where you shoot a ton of greenscreen and then fix it all in post.

(See our interview with Tom Cross about his work on First Man here.)

Talk about the importance of sound and music.
It’s huge for me, and that’s why music drives a lot of my films. I used to be a jazz drummer and I’m always thinking in terms of rhythm and sound. The sound team collected a huge range of sounds we could play with. Our sound designer Ai-Ling Lee would go down to the Cape and record stuff, and we also recorded sounds in old hangars and sounds from the old space suits and their cooling tubes and so on. It was really specific. Our set sound mixer Mary Ellis also recorded a ton of stuff, and it all went into a pile. The mixing took a long time, and we’d also augment the authentic sounds with animal noises, gunfire and other things, so it was quite experimental. Then there’s the absolute silence of the moon.

(Stay tuned for our interview with the audio post team on First Man.)

Where did you do the DI, and how important is it to you?
We did it at Universal with colorist Natasha Leonnet from EFilm. She did La La Land and Whiplash for me and is very experienced and an artist. The DI is such a key part of post, and I love the look we got.

What’s next?
I’m doing pre-prep on this TV musical drama, The Eddy, for Netflix. It’s set in Paris and we’ll start shooting there in March. Then I’m also writing this drama series for Apple TV, which I’ll direct and also executive produce. I have some movie ideas in development, but nothing set yet. I’m excited about the TV stuff.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.


Behind the Title: Picture Shop workflow specialist Alex Martin

NAME: Alex Martin

COMPANY: Picture Shop Post

TITLE: Workflow Specialist

CAN YOU DESCRIBE YOUR COMPANY?
While Picture Shop is two years old, our team has decades of experience. A majority of our employees here know each other through some previous career venture. We are a hand-picked team that meshes really well together.

We’re led by four individuals who live and breathe post production and have for decades: president Bill Romeo, EVP of sales and marketing Robert Glass, EVP of VFX Tom Kendall and EVP and CTO Jay Bodnar.

Our projects — from superhero shows to Netflix and Hulu’s top HDR projects (oh yeah, and zombies) — we’re constantly expanding.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT A WORKFLOW SPECIALIST DOES?
Technology is always advancing, and so are our shows and their workflows. Keeping up to speed with the new gear and new specs is a large majority of what makes up my day-to-day.

You have to be quick on your feet and one step ahead of the industry at all times in order to grasp success. The biggest challenge for me is always having to think outside the box; looking for new and improved ways to make what already works even better. We are often stumbling upon new advancements, constantly producing and testing new ideas into fruition.

WHAT SYSTEMS DOES PICTURE SHOP HAVE FOR COLOR?
We’re fortunate enough to have three major color correctors: Digital Vision’s Nucoda, Filmlight’s Baselight and Blackmagic’s DaVinci Resolve. We also use Colorfront’s software, Express Dailies and Transkoder.

For our online systems we use Avid Media Composer, Autodesk Flame and, recently, Resolve.

ARE YOU SOMETIMES ASKED TO DO MORE THAN JUST SET UP PROJECTS/ DESIGN WORKFLOWS?
All the time. One moment, I’m figuring out why the text over picture is more transparent than it should be, and the next, I’m creating LUTs for a new show on-set. My day-to-day job is always about workflow, but my minute-to-minute lies in the fine details. The main focus is to help get the show out the door on time and ensure that our clients keep coming back for more.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Probably that no two days are the same. I have a great mentor, senior systems workflow engineer Todd Korody, who we consider the brains of the building. Working alongside him for the past two years has been the most rewarding. Most of the conversations that we have are about a show’s color pipeline, and how we can get to the final delivery stage seamlessly while keeping in mind that each new show brings a different element to the table.

Whether we’re designing the workflow on a regular HD finish for a network show or evolving the HDR processes for Netflix and Hulu, figuring out the pass off from one platform to the next (dailies to online, online to color, or VFX to color) makes each day unique.

WHAT’S YOUR LEAST FAVORITE?
My least favorite is probably my own tendency to be a perfectionist. I always want to make sure that everything goes according to plan — as most of us do. I’m then reminded of the brilliant team that I am surrounded by, and though seeking a more collaborative effort, the “best way” to fix any issue makes itself known.

It’s amazing to know that I’m surrounded by people that care about our company to the same degree, and we all work together to ensure the best possible success.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
I would be a sound engineer for live concerts. What’s better than being behind the controls, mixing for a great band?

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I kind of fell into it. I wanted to go to recording school for music. Not that I couldn’t have, but a four-year university was needed. I ended up finding film schools had classes in mixing for movies. This turned into an editing and VFX emphasis so I could take mixing classes.

One of the classes offered in the area I was studying was color correction. I loved that class, which opened a very wide door for me to pursue in post. I knew I would end up in the entertainment business in some way around 17. My friends and I would cut together videos on Windows Movie Maker. Always enjoyed the art and still do today.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON OR PLAN TO WORK ON?
On the technology side, we’ve been working a lot with Resolve and Baselight in terms of HDR. Also making sure we are familiar with the Dolby Vision toolsets, color management workflows and making sure our pipeline is smooth for everyone.

We have a few projects coming out which I’m exciting to be a part of, The Chilling Adventures of Sabrina, Unbelievable and Huge in France, all for Netflix. There is also Future Man for Hulu. There’s a lot more HDR work on the horizon, but these are a few currently underway.

WHAT ARE YOU MOST PROUD OF WORK WISE?
Our HDR pipeline. We’ve developed some great tools and strategies along the way to handle very large camera files, ways we bring media in and out of the color correctors, and tools to help us with final delivery.

WHERE DO YOU FIND INSPIRATION? ART? PHOTOGRAPHY?
Camera tests through to final picture. Before each show starts filming, the DP usually directs a camera test. When they do the camera and lens-package comparisons, I love seeing the subtle differences. Once the show’s colorist has a chance to collaborate with the DP’s vision, the best part is seeing the final colored image through their eyes. In my opinion, this finishing touch is what brings the picture to life.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT?
My phone, my laptop and Resolve… I also have to mention my car.

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I use LinkedIn – I follow all the studios, production companies, software companies, different operators and artists; really anything that keeps me up to speed with the post production world.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I guess I always go back to what brought me to this business in the first place, and that’s music. I play the drums, and that helps me decompress and have a good time.


Tom Cross talks about editing First Man

By Barry Goch

As a child, First Man editor Tom Cross was fascinated with special effects and visual effects in films. So much so that he would take out library books that went behind the scenes on movies and focused on special effects. He had a particular interest in the artists who made miniature spacecraft, which made working on Damien Chazelle’s First Man feel like it was meant to be.

“When I learned that Damien wanted to use miniatures and do in-camera effects on this film, my childhood and adulthood kind of joined hands,” shares Cross, who is now a frequent collaborator of Chazelle’s, having cut Whiplash, La La Land and now First Man.

We recently spoke with Cross about his work on this Universal Pictures film, which stars another Chazelle favorite, Ryan Gosling, and follows the story of Neil Armstrong and the decade leading up to our country’s first mission to the moon.

Which sci-fi films influenced the style of First Man?
I remember seeing the original Star Wars movies as a kid, and they were life changing… seeing those in the theater really transported me. They opened my eyes to other movies and other movie experiences, like 2001: A Space Odyssey. Along the way, I saw and loved The Right Stuff and Apollo 13.

Tom Cross

Damien is a big fan of all those movies as well, but he really wanted to try a different stylistic approach. He knew that 2001 owns that particular look and style, where you’re super high resolution, antiseptic and sleek in a futuristic way.

For First Man, Damien decided to go with something more personal and intimate. He watched hours of 16mm NASA archival footage, which was often shot by astronauts. He loved the idea of First Man feeling like we put a documentary cameraman in the space capsules. He also saw that these spacecrafts appeared more machine-age than space-age. All the gauges and rivets looked like they belonged in a tank from World War II. So I think all of that lo-fi, analog feel informed the cinema vérité-style that he chose.

As a creative editor, you have animatics, previz or temp comps in the Avid, how do you determine the pacing? Could you talk about the creative process working on a big visual effects film?
Damien preplans everything down to the letter. He did that on Whiplash and La La Land, and he did that on First Man, especially all of the big action set pieces — the X-15, the Gemini 8 and Apollo 11 scenes. He had storyboards done, and animatics that he cut with some rough sound effects. So I always used those as a starting point.

I rely heavily on sound. I really try to use it to help illustrate what we’re looking at, especially if we’re using placeholder shots. In general, I’m most reliant on the performances to help me time things out. What the actors bring is really the heartbeat of any action scene. If you don’t identify with the character or get into a point of view, then the action scene becomes something else. It might work on some formal level, but it’s less subjective, which is the opposite of what Damien was going for.

Can you talk about him capturing things in-camera?
Damien made the choice with production designer Nathan Crowley, VFX supervisor Paul Lambert and cinematographer Linus Sandgren to try to shoot as many things in-camera as possible. The backgrounds that you see out all the spacecraft windows were projected on LED screens and then captured in-camera. Later, our VFX artists would improve, or sometimes replace, those windows. But the beautiful thing that in-camera gave us were these amazing reflections on the visors, faces and eyes. That sort of organic play of light is very difficult to replicate later. Having the in-camera VFX was invaluable to me when I was editing and great for rough cut screenings.

A big part of the film played with only the point of view of the astronaut and feeling like it’s a VR experience. Could you talk about that?
It came down to what Damien and Ryan Gosling would refer to as “the moon and the kitchen sink.” That meant that the movie would hinge on the balance between the NASA space missions and the personal domestic storylines. For the earthbound scenes with Neil and his family, Damien wanted the audience to feel like a fly on the wall in their home. He wanted it to feel intimate, and that called for a cinema verité documentary approach to the camera and the cutting.

He wanted to continue that documentary style inside the space capsules but then take it even further. He wanted to make those scenes as subjective as possible. He shot these beautiful POV shots of everything that Neil sees — the Gemini 8 seat before he climbs in, the gauges inside, the view out the window — and we intercut those with Ryan’s face and eyes. Damien really encouraged me to lean into a simple but effective cutting pattern that went back and forth between those elements. It all had to feel immersive.

What about the sound in those POV shots?
It was brilliantly created by our sound designer Ai-Ling Lee and then mixed by Ai-Ling, Frank Montano and Jon Taylor. Damien and I sketched out where all those sounds would be in our Avid rough cuts. Then Ai-Ling would use our template and take it to the next level. We played around with sound in a way that we hadn’t done on Whiplash or La La Land. We made room for sound. We would linger on POV shots of the walls of the space capsule so that we’d have room to put creaks and metal groans from Ai-Ling. We really played those moments up and then tried to answer those sounds with a look from Neil or one of the other astronauts. The goal was to make the audience feel like they were experiencing what the astronauts were experiencing. I never knew how close they were to not even making it to the lunar surface.

There was that pressure of the world watching as alarms are going off in this capsule, and was fuel running out. It was very dramatic. Damien always wanted to honor how heroic these astronauts were by showing how difficult their missions were. They risked everything. We tried to illustrate this by creating sequences that were experiential. We tried to do that through subjective cutting patterns, through sound and by using the big screen in certain ways.

Can you talk about working in IMAX?
Damien is a big canvas director. He always thinks about the big screen. On La La Land, he and Linus shoot in Fox’s original Cinemascope aspect ratio, which is 2:55.

On First Man, he again wanted to tell the story on a wide canvas but then, somehow, take it up a notch at the appropriate moment. He wanted to find a cinematic device that would adequately transport the audience to another world. He came up with this kind of Wizard of Oz transition where the camera passes through the hatch door and out onto the moon. The image opens up from 2.40 to full 1.43 IMAX.

The style and the pace changes after that point. It slows down so that the audience can take in the breathtaking detail that IMAX renders. The scene becomes all about the shadows and the texture of the lunar surface. All the while, we linger even longer on the POV shots so that the viewer feels like they are climbing down that ladder.

What editing system did you use?
We edited on the Avid Media Composer using DNxHD 115. I found that resolution really helpful to assess the focus and detail of the image, especially because we shot a lot of 16mm and 35mm 2-perf.

Tom Cross

I would love to give a shout out to your team, for your assistants and apprentices and anybody else that helped.
I was pretty blessed with a very strong editorial crew. If it weren’t for those guys we’d still be editing the movie since Damien shot 1.75 million feet of film. I need to give credit to my editing team’s great organizational prowess. I also had two great additional editors who worked closely with me and Damien — Harry Yoon and John To. They’re great storytellers and they inspired me everyday with their work.

Ryan Chavez, our VFX editor, also did a lot of great cutting. At the same time, he kept me on target with everything VFX-related. Because of our tight schedule, he was joined by a second VFX editor Jody Rogers, who I had previously worked with on David O. Russell’s movie Joy. She was fantastic.

Then I had two amazing first assistants: Jennifer Stellema and Derek Drouin. Both of them were often sent on missions to find needles in haystacks. They had to wade through hundreds of hours of NASA radio comms, stock footage, and also a plethora of insert shots of gauges and switches. Somehow they always knew where to find everything. The Avid script was also an indispensable resource and that was set up and maintained by Assistant Editors Eric Kench and Phillip Trujillo.

On the VFX end, we were very lucky to have our VFX producer Kevin Elam down the hall. We also had two incredible postviz artists — John Weckworth and Joe DiValerio — who fed us shots constantly. It was a very challenging schedule, which got more difficult once we got into film festivals.

Fortunately, our great post supervisors from La La Land —Jeff Harlacker and Jason Miller — were onboard. They’re the ones who really kept us all on track and had the big picture in mind. Together, with our trusted post PA Ryan Cunningham, we were covered.

The truly unsung heroes of this project had to be the families and loved ones of our crew. As we worked the long hours to make this movie, they supported us in every way imaginable. Without them, none of this would be possible.


Barry Goch is a finishing artist at The Foundation, a boutique post facility in the heart of Burbank’s Media District. He is also an instructor for post production at UCLA Extension. You can follow him on Twitter @gochya


Adobe Max 2018: Creative Cloud updates and more

By Mike McCarthy

I attended my first Adobe Max 2018 last week in Los Angeles. This huge conference takes over the LA convention center and overflows into the surrounding venues. It began on Monday morning with a two-and-a-half-hour keynote outlining the developments and features being released in the newest updates to Adobe’s Creative Cloud. This was followed by all sorts of smaller sessions and training labs for attendees to dig deeper into the new capabilities of the various tools and applications.

The South Hall was filled with booths from various hardware and software partners, with more available than any one person could possibly take in. Tuesday started off with some early morning hands-on labs, followed by a second keynote presentation about creative and career development. I got a front row seat to hear five different people, who are successful in their creative fields — including director Ron Howard — discuss their approach to work and life. The rest of the day was so packed with various briefings, meetings and interviews that I didn’t get to actually attend any of the classroom sessions.

By Wednesday, the event was beginning to wind down, but there was still a plethora of sessions and other options for attendees to split their time. I presented the workflow for my most recent project Grounds of Freedom at Nvidia’s booth in the community pavilion, and spent the rest of the time connecting with other hardware and software partners who had a presence there.

Adobe released updates for most of its creative applications concurrent with the event. Many of the most relevant updates to the video tools were previously announced at IBC in Amsterdam last month, so I won’t repeat those, but there are still a few new video ones, as well as many that are broader in scope in regards to media as a whole.

Adobe Premiere Rush
The biggest video-centric announcement is Adobe Premiere Rush, which offers simplified video editing workflows for mobile devices and PCs.  Currently releasing on iOS and Windows, with Android to follow in the future, it is a cloud-enabled application, with the option to offload much of the processing from the user device. Rush projects can be moved into Premiere Pro for finishing once you are back on the desktop.  It will also integrate with Team Projects for greater collaboration in larger organizations. It is free to start using, but most functionality will be limited to subscription users.

Let’s keep in mind that I am a finishing editor for feature films, so my first question (as a Razr-M user) was, “Who wants to edit video on their phone?” But what if the user shot the video on their phone? I don’t do that, but many people do, so I know this will be a valuable tool. This has me thinking about my own mentality toward video. I think if I was a sculptor I would be sculpting stone, while many people are sculpting with clay or silly putty. Because of that I would have trouble sculpting in clay and see little value in tools that are only able to sculpt clay. But there is probably benefit to being well versed in both.

I would have no trouble showing my son’s first-year video compilation to a prospective employer because it is just that good — I don’t make anything less than that. But there was no second-year video, even though I have the footage because that level of work takes way too much time. So I need to break free from that mentality, and get better at producing content that is “sufficient to tell a story” without being “technically and artistically flawless.” Learning to use Adobe Rush might be a good way for me to take a step in that direction. As a result, we may eventually see more videos in my articles as well. The current ones took me way too long to produce, but Adobe Rush should allow me to create content in a much shorter timeframe, if I am willing to compromise a bit on the precision and control offered by Premiere Pro and After Effects.

Rush allows up to four layers of video, with various effects and 32-bit Lumetri color controls, as well as AI-based audio filtering for noise reduction and de-reverb and lots of preset motion graphics templates for titling and such.  It should allow simple videos to be edited relatively easily, with good looking results, then shared directly to YouTube, Facebook and other platforms. While it doesn’t fit into my current workflow, I may need to create an entirely new “flow” for my personal videos. This seems like an interesting place to start, once they release an Android version and I get a new phone.

Photoshop Updates
There is a new version of Photoshop released nearly every year, and most of the time I can’t tell the difference between the new and the old. This year’s differences will probably be a lot more apparent to most users after a few minutes of use. The Undo command now works like other apps instead of being limited to toggling the last action. Transform operates very differently, in that they made proportional transform the default behavior instead of requiring users to hold Shift every time they scale. It allows the anchor point to be hidden to prevent people from moving the anchor instead of the image and the “commit changes” step at the end has been removed. All positive improvements, in my opinion, that might take a bit of getting used to for seasoned pros. There is also a new Framing Tool, which allows you to scale or crop any layer to a defined resolution. Maybe I am the only one, but I frequently find myself creating new documents in PS just so I can drag the new layer, that is preset to the resolution I need, back into my current document. For example, I need a 200x300px box in the middle of my HD frame — how else do you do that currently? This Framing tool should fill that hole in the features for more precise control over layer and object sizes and positions (As well as provide its easily adjustable non-destructive masking.).

They also showed off a very impressive AI-based auto selection of the subject or background.  It creates a standard selection that can be manually modified anywhere that the initial attempt didn’t give you what you were looking for.  Being someone who gives software demos, I don’t trust prepared demonstrations, so I wanted to try it for myself with a real-world asset. I opened up one of my source photos for my animation project and clicked the “Select Subject” button with no further input and got this result.  It needs some cleanup at the bottom, and refinement in the newly revamped “Select & Mask” tool, but this is a huge improvement over what I had to do on hundreds of layers earlier this year.  They also demonstrated a similar feature they are working on for video footage in Tuesday night’s Sneak previews.  Named “Project Fast Mask,” it automatically propagates masks of moving objects through video frames and, while not released yet, it looks promising.  Combined with the content-aware background fill for video that Jason Levine demonstrated in AE during the opening keynote, basic VFX work is going to get a lot easier.

There are also some smaller changes to the UI, allowing math expressions in the numerical value fields and making it easier to differentiate similarly named layers by showing the beginning and end of the name if it gets abbreviated.  They also added a function to distribute layers spatially based on the space between them, which accounts for their varying sizes, compared to the current solution which just evenly distributes based on their reference anchor point.

In other news, Photoshop is coming to iPad, and while that doesn’t affect me personally, I can see how this could be a big deal for some people. They have offered various trimmed down Photoshop editing applications for iOS in the past, but this new release is supposed to be based on the same underlying code as the desktop version and will eventually replicate all functionality, once they finish adapting the UI for touchscreens.

New Apps
Adobe also showed off Project Gemini, which is a sketch and painting tool for iPad that sits somewhere between Photoshop and Illustrator. (Hence the name, I assume) This doesn’t have much direct application to video workflows besides being able to record time-lapses of a sketch, which should make it easier to create those “white board illustration” videos that are becoming more popular.

Project Aero is a tool for creating AR experiences, and I can envision Premiere and After Effects being critical pieces in the puzzle for creating the visual assets that Aero will be placing into the augmented reality space.  This one is the hardest for me to fully conceptualize. I know Adobe is creating a lot of supporting infrastructure behind the scenes to enable the delivery of AR content in the future, but I haven’t yet been able to wrap my mind around a vision of what that future will be like.  VR I get, but AR is more complicated because of its interface with the real world and due to the variety of forms in which it can be experienced by users.  Similar to how web design is complicated by the need to support people on various browsers and cell phones, AR needs to support a variety of use cases and delivery platforms.  But Adobe is working on the tools to make that a reality, and Project Aero is the first public step in that larger process.

Community Pavilion
Adobe’s partner companies in the Community Pavilion were showing off a number of new products.  Dell has a new 49″ IPS monitor, the U4919DW, which is basically the resolution and desktop space of two 27-inch QHD displays without the seam (5120×1440 to be exact). HP was displaying their recently released ZBook Studio x360 convertible laptop workstation, (which I will be posting a review of soon), as well as their Zbook X2 tablet and the rest of their Z workstations.  NVidia was exhibiting their new Turing-based cards with 8K Red decoding acceleration, ray tracing in Adobe Dimension and other GPU accelerated tasks.  AMD was demoing 4K Red playback on a MacBookPro with an eGPU solution, and CPU based ray-tracing on their Ryzen systems.  The other booths spanned the gamut from GoPro cameras and server storage devices to paper stock products for designers.  I even won a Thunderbolt 3 docking station at Intel’s booth. (Although in the next drawing they gave away a brand new Dell Precision 5530 2-in-1 convertible laptop workstation.)   Microsoft also garnered quite a bit of attention when they gave away 30 MS Surface tablets near the end of the show.  There was lots to see and learn everywhere I looked.

The Significance of MAX
Adobe MAX is quite a significant event, especially now that I have been in the industry long enough to start to see the evolution of certain trends — things are not as static as we may expect.  I have attended NAB for the last 12 years, and the focus of that show has shifted significantly away from my primary professional focus. (No Red, Ncidia, or Apple booths, among many other changes)  This was the first year that I had the thought “I should have gone to Sundance,” and a number of other people I know had the same impression. Adobe Max is similar, although I have been a little slower to catch on to that change.  It has been happening for over ten years, but has grown dramatically in size and significance recently.  If I still lived in LA, I probably would have started attending sooner, but it was hardly on my radar until three weeks ago.  Now that I have seen it in person, I probably won’t miss it in the future.


Mike McCarthy is an online editor/workflow consultant with 10 years of experience on feature films and commercials. He has been involved in pioneering new solutions for tapeless workflows, DSLR filmmaking and multi-screen and surround video experiences. Check out his site.

Adobe launches Premiere Rush CC for social video

At the Adobe Max Creativity Conference, Adobe introduced Adobe Premiere Rush CC, the first all-in-one video editing app for social media creators that simplifies video creation and sharing on platforms such as YouTube and Instagram.

Designed specifically for online video creators, Premiere Rush CC integrates capture, intuitive editing, simplified color, audio and motion graphics with seamless publishing to leading social platforms, such as YouTube and Instagram, all in one easy-to-use solution.

With Premiere Rush CC, content creators do not have to be video, color or audio experts to publish professional-quality videos. Premiere Rush CC harnesses the power of Premiere Pro CC and After Effects CC; offers built-in access to professionally designed Motion Graphics templates in Adobe Stock to get started quickly; and features a Sensei-powered, one-click auto-duck feature to adjust music and normalize sound. It also allows access anywhere, enabling users to create compelling video projects — optimized for social distribution — on one device and publish from another with a consistent user experience across desktop and mobile.

Premiere Rush CC is available now on Windows and macOS and via the iOS App Store. (Google Play store availability is coming in 2019.) Adobe offers a variety of pricing plans tailored for customers’ needs:

• Premiere Rush CC is available for $9.99/month to individuals, $19.99/month to teams and $29.99/month to enterprise customers. Premiere Rush CC is also included as part of All Apps, Student and Premiere Pro CC single app plans and comes with 100 GB of CC storage. Additional storage options, up to 10 TB, are also available for purchase.

• Premiere Rush CC Starter Plan: Available for free, the Starter Plan gives customers access to all Premiere Rush CC features, use of desktop and mobile apps and the ability to create an unlimited number of projects and export up to three projects for free.