![]() ![]() “For Monsters, I used full cinema resolution at true high definition,” he says. Edwards imported the same footage directly from his editor’s timeline and set up linked Adobe After Effects projects where he could created rough versions of each shot for pre-visualization that automatically updated in the final film. Gareth Edwards: According to Edwards, Adobe Premiere® Pro software supported a tapeless workflow that simplified the ingest process. To be able to maintain real time playback in this situation is a testament to the way Adobe have worked together with Nvidia to leverage the GPU using their Mercury Playback Engine, and how Open Drives are able to configure storage arrays that meet the bandwidth and access requirements of a project of this size. The final movie was conformed by nesting After Effects projects into the Premiere timeline eventually reaching the stage where over 80% of the timeline was embedded After Effects projects. ![]() All the computers that were used were fitted with Nvidia’s latest Quadro GPUs and all debayering, stabilisation and reframing was performed in real time using a CUDA based version of REDline (no REDRocket cards required)Īccording to Jeff Brue, CTO of Open Drives, this was the first feature film originated at 6K on the RED Dragon and the first feature edited and conformed on Adobe Premiere CC in this way. Gone Girl was shot on the RED Dragon Camera at 6K and was then offlined at 2054 x 1152 (which allowed them to reframe shots and monitor them at 1920 x 800) in Adobe Premiere CC, before being conformed in Adobe Premiere CC and Adobe After Effects CC at 5120 x 2560. With Adobe, it’s pretty clean and fast to get from, “This is what I want,” to, “There it is.” ![]() And you want it to be solid, you can’t have it crashing all the time. You have to be able to put together footage, do cuts only, and do quick dissolves in a really organized and efficient way. You have to be able to do basics really well. What we need in an editing package is really an uninterrupted flow between the idea and the output. One of the biggest things for us when we heard about what the new Premiere Pro could do was its interoperability with After Effects. Miller : Even if he’s not your typical superhero, Deadpool still has a ton of action and special effects. Was there anything about Premiere Pro CC that worked particularly well for Deadpool? The idea that Premiere Pro CC was built from scratch with filmmakers who are very picky and discerning made me think that it was going to be a product that would have some legs. Coincidentally, he’d just finished using Premiere Pro CC to cut Gone Girl and told me what a good experience he had. One of the people I asked was David Fincher. I’m not ashamed to admit that I don’t know everything so I went out and I asked questions. Miller : When I got the gig for Deadpool, I talked to a lot of people in the industry. How did you get introduced to the idea of editing with Adobe Premiere Pro CC? ![]()
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