I watched Deadpool this weekend. I loved it, but hey, I'm a super hero comic book movie lover with a sarcastic sense of humor. Deadpool was made for guys like me. What was the coolest thing about the movie for me....
no spoilers here .....
Not only was it edited on Adobe Premiere Pro, but they actually gave credit to Adobe and the Première Pro team that helped them with the movie. One of the folks listed in the credits was an old industry friend of mine David Helmley. He's been part of the Adobe Premiere team since as long as I can remember. I'm going to link into two different blog posts about Premerie Pro & Deadpool here.
Pro Video Coalition by Steve Hullfish
Vashi Nedomansky has a growing list of editorial credits on films like the “An American Carol” and “Sharknado II,” but he’s also called upon both as a colorist and editorial consultant. Most of this consulting work is due to his long-standing use of Premiere. Most recently he trained a team of Avid editors and assistants for their switch to Premiere Pro for “Deadpool” and delivered a workflow that put the big-time box office hit in theaters everywhere. The movie opened Valentine’s Day weekend and brought in $60M just Thursday and Friday nights setting it up to break multiple records.
HULLFISH: Tell me about your workflow and why you were brought on board for "Deadpool."
NEDOMANSKY: I was brought on board by post-supervisor, Joan Bierman to come in, but before I did that I sat down with both Tim Miller and Jennifer Miller at Blurand had a meeting before they even started shooting, probably a month before and I was recommended by Adobe. I had previous experience training and working on "Gone Girl." And before that I had cut about eight years on Premiere Pro. I started with Bandito Brothers which is a production company that made "Need for Speed" and "Act of Valor." I was their lead editor for four years and they were an entirely Adobe house from 2005 or 2006. So I had a lot of experience and obviously Premiere has come a long way since then. Sometimes it was crashing back then, so when I sat down with the "Deadpool" team, they asked, "So why would we want Premiere Pro? We don't know it. We haven't heard of it." But the thing is that Tim Miller is good friends with David Fincher and he wanted to see what they did to successfully get "Gone Girl" through post and whether that could be translated to "Deadpool." Since I had worked on "Gone Girl" previously, they wanted me to come in and explain it to them and run them through what they should expect. It was mostly a technical meeting in terms of "What kind of computers should we have? What storage?" At the end of the day, every NLE is pretty much the same in terms of functionality - marking in, marking out, trimming, all that kind of stuff - but they wanted to stay ahead of the curve. They wanted to go with an NLE that was on the cutting edge of technology and always staying ahead of the curve, but also embracing everything that is there currently. At the end of the meeting they were pretty confident that they wanted to build out, because they were actually building five edit suites at their studios in Culver City. So that was a major investment on their part to build it out and commit to cutting with Premiere. So I think it was a combination of me having experience with Premiere; that Fincher had a good experience; and the desire to be able to handle effects and everything moving forward. read more...
Premiere Pro - Weapon of Choice for Deadpool by Shane Ross
Adobe invited me to see DEADPOOL on the 20th Century Fox lot in the Zanuck Theater (Atmos sound system) on Saturday, February 13. Who am I to say no to a free movie on a studio lot? Oh, and by the way…DEADPOOL WAS EDITED WITH ADOBE PREMIERE CC!!
In case you didn’t know. Hard not to, it was all over the Twitter-sphere and post production groups and sites. and yes, many of you will say things like “Man, I could totally tell it was edited on Premiere Pro!” in a sarcastic way, just like we do when Avid goes “HEY! All the Academy Award nominees for Best Picture and Best Editing were all cut on Media Composer!” We editors…and I’m guilty of this…will say “It’s all about the story. It doesn’t matter what tool was used to tell the story, it’s all about the skill and storytelling ability of the editor. You can’t tell if a movie was cut with Avid, Premiere, FCX or Lightworks.” And no, you can’t tell. Just like you can’t tell what tools were used to build a house. BUT…having a tool that helps the editing process go smoother, that helps the editor tell the story the way they want to…that is important.
This is something that I’m realizing more and more as I look at the features that each editing application brings to the table. They all have their strengths and weaknesses…all have areas where they do things better than the competition. This is why you choose one editing app over the another. You need to look at the workflow you want to tackle, the features that you need to accomplish what you want, and then use the editing application that best addresses those needs. In the case of DEADPOOL, the post team did just this, and felt that Adobe Premiere Pro would be the best choice. read more...
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