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Home » Adobe’s Hollywood Downpayment – Premiere Goes to the Movies

Adobe’s Hollywood Downpayment – Premiere Goes to the Movies

Adobe finally bought into a dream house. The San Jose-based company recently began leasing a 3,000 sq ft space in Santa Monica (at 429 Santa Monica Boulevard), making this its first big push into the entertainment market with the setting up of a full-service shop for the LA creative community.

Adobe’s Creative Cloud tools are used extensively throughout the motion media industry for commercials to independent films. However, habits die hard. Hollywood’s editors were trained mainly on Avid’s Media Composer, and some see little reason to change once they got comfortable.

Adobe aims to change that, even it if means waiting for a new generation of editors to come along. Adobe Premiere Pro CC (Creative Cloud, the only way to buy it now) has seen remarkable growth and acceptance over the past years. Adobe was there to jump in with “It’s easy to change over!” ads when Apple had its wobbly release of Final Cut X. (Adobe had its own share of controversy when it moved from a “buy it, own it” software model to CC’s monthly subscriptions.)

Today Premiere Pro has emerged as a go-to editing application at commercial production houses and advertising agencies, for YouTube creators and more.

Premiere Pro has also been used in big blockbuster productions such as Gone Girl, Stranger Things, Deadpool and others. David Fincher’s Gone Girl, the first major feature to rely on Premiere Pro entirely for editing, was the app’s initial win in the LA post scene. Adobe’s coders built a realtime storage architecture that enabled use of huge storage networks that are de riguer for the way post is done here. Those capabilities were rolled into later versions of Premiere Pro.

The new Adobe location is located in downtown Santa Monica. Image by Peter Zakhary, Tilt Photo.

However, to make it in the post industry, Adobe needed more feet on the ground; any requests and changes required by an edit team on a multimillion dollar film needs immediate attention. No emails to the help desk here.

Instead, editors will head to the new office’s sleek edit suite to try out editing strategies, all the while learning from Adobe’s Hollywood team.

The new office includes a luxe suite where editors can try out Premiere Pro while conferring with top Adobe advisors.

Earlier this year, Adobe started a new Customer Advisory Board composed of high-level editors and postproduction coordinators; they’ll provide regular feedback about what they should be in new versions of Adobe CC apps such as Premiere Pro CC, After Effects CC and Audition CC.

Michael Kanfer (right), Adobe’s Senior Strategic Development Manager for Pro Video and Film, played an instrumental role in Premiere Pro’s acceptance by the Hollywood post community.

Will Adobe’s new LA office space help to increase Premiere Pro’s rise in the suites of Hollywood’s motion picture editing elite? Time will tell. However, if its continued adoption by commercial production houses, advertising agencies and independent filmmakers is any indication, it’s Premiere’s time in the spotlight.

About Joe Herman

Joe Herman is a filmmaker, artist and post production specialist and writes often about the industry. You can reach him at joe[at]legendmultimedia[dot]com. Or reach and follow him on Twitter @JoeHermanTweets.

Community & Partner Links

How Sony’s New Virtual Sound Technology Can Change How We Hear Films

Kami Asgar and Jessica Parks are post-production heavyweights who work with major studios, namely Sony. As a sound designer (Asgar) and as a post executive (Parks), their collective resume touches on everything from Apocalypto to Grandma’s Boy to Venom.

Parks has recently shifted her focus from supervisor to hands-on sound design, and we talk about how it’s never too late to pivot on your career path and find the thing you love doing wherever you are in life.

Click on this link to read the rest of the article on No Film School’s site.

NJ – Governor Murphy signs $14B Incentive Program Bill – the NJ Economic Recovery Act of 2020

 Film tax credits — amending existing programs to include provisions for so-called New Jersey film partners and New Jersey film-lease partners and allowing an additional $200 million of tax credits annually over 13 years.

Click this link if you want to read the full article on the Lexology site. http://bit.ly/35NtDx6

Film Commish announces date for production restart

In her December 18, 2020 news update, MOME Commissioner Anne del Castillo announced that the Film Office is now accepting permit applications for production activity that begins on July 27th.

She also announced awards now (Awkwafina) and more. To read all of the Film Commish’s bloggy sort of news column, click here.

Stimulus Offers $15 Billion in Relief for Struggling Arts Venues

The coronavirus relief package that Congressional leaders agreed to this week includes grant money that many small proprietors described as a last hope for survival.

For the music venue owners, theater producers and cultural institutions that have suffered through the pandemic with no business, the coronavirus relief package that Congress passed on Monday night offers the prospect of aid at last.

To read the full article on The New York Times’ site, click here.

If you want to start production, here’s the latest news from the Mayor’s Office

Phase 4 production guidance is available on the Film Permit website. All production activity, whether it requires a Film Permit or not, must comply with New York Forward Industry Guidance.

For more information see, please refer to the State Department of Health’s Interim Guidance for Media Production During the COVID-19 Public Health Emergency. Please review the guidelines and FAQ before submitting permit applications. The Film Office is operating remotely, so please allow additional time for Film Permit processing.

The above paragraphs contain links to the various FAQ – just mouse over the relevant words.

Nikon to Stop Making Cameras in Japan

Nikon has fallen on hard times as of late as its camera sales have cratered, and now there’s a new indicator of how dire its financial situation is: the company is reportedly pulling the plug on making cameras in Japan after over 70 years of doing so.

To read the full article on Petapixel’s site, click here.

NVIDIA Uses AI to Slash Bandwidth on Video Calls

NVIDIA Research has invented a way to use AI to dramatically reduce video call bandwidth while simultaneously improving quality

What the researchers have achieved has remarkable results: by replacing the traditional h.264 video codec with a neural network, they have managed to reduce the required bandwidth for a video call by an order of magnitude. In one example, the required data rate fell from 97.28 KB/frame to a measly 0.1165 KB/frame – a reduction to 0.1% of required bandwidth.

To read the rest of this article on Petapixel, click this link.

 

 

 

Union Health Plan Dodges Film Workers’ Suit Over Virus Relief

Law360 (October 9, 2020, 5:22 PM EDT) — The Motion Picture Industry Health Plan’s board can’t be sued under ERISA for allegedly flouting its duties when it relaxed plan rules in response to COVID-19, a California federal judge has ruled, nixing a proposed class action filed by two cinematographers who still couldn’t qualify for benefits.

In an order entered Thursday, U.S. District Judge R. Gary Klausner granted the board of directors’ motion to dismiss Greg Endries and Dee Nichols’ Employee Retirement Income Security Act suit accusing board members of breaching their duty to treat all plan participants fairly.

Endries and Nichols, members of Local 600 of the International Cinematographers Guild, said in July that the board left them and others “out in the cold” in its attempts to address the problems COVID-19 caused for plan participants.

But Judge Klausner agreed with the board’s contention that the case, which alleged a fiduciary breach, should be tossed because plan administrators don’t act as fiduciaries when they amend health care plans.

Read the full article on the Law360 site by clicking here.

Russo Brothers Received Close to $50 Million From Saudi Bank

Anthony Russo and Joseph Russo photographed at the PMC Studio in Los Angeles for the Variety Playback Podcast.

The Russo brothers, directors of the all-time top grossing film “Avengers: Endgame,” quietly secured a roughly $50 million cash infusion for their production company AGBO from Saudi Arabia earlier this year, multiple sources tell Variety.

In a deal brokered and closed at the beginning of the pandemic, the Russos received the investment from an undisclosed Saudi bank in exchange for a minority stake in the brothers’ Los Angeles-based shop.

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