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Notes from Adobe Max 2015

By Daniel Restuccio

Creativity, community, collaboration and the cloud were the dominant themes of Adobe Max 2015, which attracted over 7,000 creative types to the Los Angeles Convention Center earlier this week.

Adobe’s Creative Cloud, with 5.3 million subscribers, wants to be the antidote to the phenomenon of “content velocity” — the increasing demand for more content to be delivered faster, better and less expensively. They highlighted the following solutions for managing the emerging, worldwide, 24/7 work schedule.

Here are some highlights:
– Mobile apps: projects on mobile devices with apps like Adobe Comp or Adobe Clip and then get sent to desktop apps In-Design or Premiere for finishing. Newly announced app Adobe Capture aggregates Adobe Shape, Color, Hue and Brush into one app.
– Creative Sync: all assets are in the Creative Cloud and can be instantly updated by anyone on any desktop or mobile device.
– All Adobe apps are now touch enabled on Microsoft Windows.
– Adobe Stock — the company’s royalty-free collection of high-quality photos, illustrations and graphics, which offers 40 million images, will soon expand to video.
– Video editing: Premiere is already UHD-, 4K- and 8K-enabled with Dolby Vision HDR extended dynamic range exhibition on the horizon.

Director Tim Miller (R) with Deadpool movie with Adobe’s senior VP, Bryan Lamkin,

Director Tim Miller (R) with Deadpool movie with Adobe’s senior VP, Bryan Lamkin,

Movies and Premiere Pro
Deadpool director Tim Miller addressed the crowd and spoke with Adobe’s Senior VP/GM, Bryan Lamkin. Miller shared that David Fincher persuaded him to make the switch to Adobe Premiere Pro for this film. In fact, Premiere editor Vashi Nedomansky set up the Premiere Pro systems on Deadpool, which was shot on Arri Raw.

Nedomansky trained the editors and assistant editors on the system, which is pretty much a clone of the one he set up for David Fincher — including using Jeff Brue’s solid state drives via OpenDrive — on Gone Girl.

The Coen brothers next film, Hail Caesar!, is also being cut on Premiere, so I think we’ve hit the tipping point with Premiere and feature work. I don’t suspect anyone’s going to throw out their Media Composers anytime soon, but Premiere is now the little engine that could, like Final Cut was back in the day.

Photos: Elizabeth Lippman


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