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Home » David Dessel Employs, Enjoys Adobe Creative Suite

David Dessel Employs, Enjoys Adobe Creative Suite

As we have mentioned, we’ll be doing an ongoing series of reviews and articles about Adobe Creative Suite (CS). Among other improvements in the recently upgraded software package–now in version 5.5–are Adobe Audition with its slick audio-for-video editing on both Mac OS and Windows platforms and the snappy speed improvements of the Mercury Playback Engine when compositing and editing, especially when paired with Nvidia Quadro cards.

If you ever speak with hands-on creative David Dessel, you’ll soon realize that he enjoys learning the latest hardware gear and software apps as much as he does using them to create his productions. Working out of his Manhattan-based boutique Metaphor Pictures, he produces commercials, Webisodes, music videos, and corporate videos with a client roster that includes Dell, Chevrolet, IBM, and The History Channel.

Besides directing, Dessel will often grab a camera to shoot; an early RED user, he’s also relied on DV cams, Betacams, various Panasonic gear and now DSLRs.

Dessel shoots with one of his favorite cameras, the RED One.

Like many small company owners, Dessel doesn’t only shoot but also posts much of his own work, which includes creating After Effects compositions. Until recently, he regularly used Final Cut Pro (FCP) as his NLE of choice.

He first used the CS4 version of Adobe Premiere Pro as it was one of the few NLEs to enable the mastering of Blu-ray discs. He became more impressed when he found the app could also edit RED footage natively. While intrigued, Dessel still went back to FCP, which he considered easier to work with for his day-to-day editing.

But by the time he saw a demo of CS 5, Dessel was ready to make big changes to his daily workflow. Already an accomplished Adobe After Effects user for over a decade, he appreciated the reworked interface in Premiere Pro CS 5 and its tight integration with AE.

“I’ve used After Effects and Final Cut together for quite some time,” says Dessel. “But this meant sending out (tracks from the FCP timeline) to After Effects to render out and then importing the file back in to Final Cut’s render bin to complete. If I had revisions to do I might end up spending 50-percent of my time just to handle input, output and rendering.”

Over the past half year, Dessel has shifted all of this editing and compositing to CS 5.5. “I didn’t plan on that, it just happened,” says Dessel. “But I now feel that I’ve probably doubled my productivity since I’m doing much less file management. It’s just more fun to do the creative work and lose the grunt work.”

Other aspects of the new software suite appeal to him. “Working with audio is very painless,” says Dessel. Depending upon a client’s budget, he will also mix audio on projects.

The overall processing speed improvements are key to keeping client’s happy. “Clients are happy things are happening really fast,” says Dessel. “I recently edited eight shots for a Google ad that I shot with a Canon 5D. I completed the whole edit within two hours. With everything running in real time, I had no render outs, nothing to slow me down, and that’s important with a client sitting next to me.”

“I’ve been doing this for 25 years. Being able to work without all the usual file management duties just makes it fun again.”

You can visit David Dessel’s site here.

Adobe’s page on Creative Suite 5.5 Production Premium.

About Dan Ochiva

New York City-based journalist and NYCPPNEWS founder Dan Ochiva writes and consults on film, video, and digital media technology.

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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