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Gone Girl - Edited with Premiere Pro CC in 6k

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Well it is the Adobe website so they are going to gush about it - thats their job...

I am looking forward to seeing this film it has the great Jeff Cronenwerth as DOP for Fincher again, it looks like a very Hichcock esque 'who dun it ' suspense film

 

Fincher has shot like this for his past few films and on House of Cards series for Netflix, shoot with an oversize frame at 5 or 6k on the Red Epic and use it to crop down and stabalise the image alot afterwards in post so there is alot of number crunching going on to get the actual final sized frame that ends up in the film - thats what they are shouting about the 6k work flow not just the cuts !!

 

Alot of 4K GH4 users on this forum will be starting to use the technique as 4K gives us wiggle room in post to move the final frame up /down/left/ right and crop resize down to 1080p , I do think we will all see alot more talk of this on this forum now 4K has filtered down to all on here.........

 

watch and learn - Fincher is one of the best pioneers of digital film making...

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There's not much less impressive than bragging about what editing system is used to cut a motion picture.

It's editing, for goodness sake. Where you splice the cuts matter, not the razor that does it.

 

When you are the company selling the software it is edited on it matters a great deal. They aren't advertising it to soccer moms. They are advertising it to editors. You know, kinda like how Arri crowed to all the cinematographers about how all the Best Picture nominees were shot on Arri cameras.

And to put this in perspective, Final Cut Pro wasn't considered to be a credible platform for editing "professional" movies on until Walter Murch used it to cut Cold Mountain. That legitimized it in the eyes of many and that's when more "professionals" began using it in earnest.

Ever since the debacle that was Final Cut X rolled out, Adobe has been aggressively pursuing the segment of the market that Apple was abandoning. With this announcement, I would say it is a sign that they have gone a long way toward succeeding.

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There's not much less impressive than bragging about what editing system is used to cut a motion picture.

It's editing, for goodness sake. Where you splice the cuts matter, not the razor that does it.

 

As an editor I disagree with this. How do you edit with multiple people the same project using Premiere? You don't.

 

And I really like Premiere (current version)

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Yeah this is actually a pretty big deal. The tide is turning and Adobe are doing really well right now. Apple fucked Final Cut and Avid have major problems on their hands with Media Composer running like garbage compared to the competition.

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i tried to read the book this summer and it was totally overrated crap, i hope this is the case where the movie is better than the book,

it was painfully slow and badly written, read like a romance novel.

 adobe cc has finally! after so many years the syncing clips capability that makes your life easier, so i can see more people using it for movies for that feature!

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I am looking forward to seeing this film it has the great Jeff Cronenwerth as DOP for Fincher again, it looks like a very Hichcock esque 'who dun it ' suspense film

 

It isn't. It's a psychological thriller. It's rather 'who am I?'. Fincher is one of a handful of serious directors of our time.

 

Yeah this is actually a pretty big deal. The tide is turning and Adobe are doing really well right now. Apple fucked Final Cut and Avid have major problems on their hands with Media Composer running like garbage compared to the competition.

 

Many prejudices around. Maybe a ful digital workflow lets people move to Premiere slowly but surely. Adobe did their homework, there are some really profound improvements since 5.5, the last version I knew better. 

 

Apple fucked FCP? They abandoned the old concept, and rightly so. Adobe tacidly adopted a few virtues of FCP X. That's why they are where they are now. For my personal taste, they should 'fuck' tracks, eventually. I presage that. And once they did, goodbye AMC!

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Yeah this is actually a pretty big deal. The tide is turning and Adobe are doing really well right now. Apple fucked Final Cut and Avid have major problems on their hands with Media Composer running like garbage compared to the competition.

 

Apple didn't fuck up Final Cut Pro. They re-designed it from scratch and built a superior editor for the future. 

 

I understand at first it was like "WHAT THE HELL!!!!" but after a few hours, I realised they were onto something amazing. Now - with many of the features ironed out - it's a blast to edit with, loads of support, incredibly intuitive and some very nifty tools. I use it all the time for music videos - the multi-cam is outstanding. 

 

Depends what your end product is - all the editing platforms are great - the rest is up to you :) 

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There's not much less impressive than bragging about what editing system is used to cut a motion picture.

It's editing, for goodness sake. Where you splice the cuts matter, not the razor that does it.

 

I think Adobe should use that in their marketing.

"Adobe Premiere Pro : It doesn't matter if you use our product!"

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I'll contend that regardless of what editing system you want to use. FCP, Premiere, iMovie, AVID, Sony, Media100, an iPad app, an old Video Toaster, Moviola, or a pair of scissors with some glue; where you make the edits is more important than how you do it.

 

Which is why as long as you have something that allows you to splice, you can effectively edit.  To assume otherwise is a mistake I think.  It's akin to the enthusiast buying a $8K Leica and saying that he's a serious photographer simply because he has good gear.  It doesn't really work that way.  Yes, good gear elevates the skill. It certainly may motivate it as well. However, it doesn't really create it.

 

That needs to come from the film creator.  --And Fincher could make the same movies he makes on any gear.  In fact, I'd argue his movies might even be better if he parsed back the advanced technology he uses sometimes.

 

Digital bells and whistles are nice for a lot of stuff, no question, but the fundamentals are constant.  If you know how to manipulate the basics to your advantage as a storyteller, that's the key.

 

Asserting this sort of stuff on a tech-centric blog seems like spitting in the wind sometimes, but that's just my POV.

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there was an article with screenshots from the time lines of big productions on slashcam. not so long ago and yes, it was quite boring: 95 % AIVID, AVID and AVID.

 

If I read stuff like this 'wonderful experience', 'great team' and so on I normally stop, as there is in generally no further valuable information provided, only an advert.

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I think Adobe should use that in their marketing.

"Adobe Premiere Pro : It doesn't matter if you use our product!"

 

Even when I agree with it, or am impressed by it, I tend to understand marketers are just creating a motivator for my own purchase rationalizations...as they also understand, btw.

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well I saw Gone Girl today and its very good - a bit long the last 45 mins mess with your head,

I saw it in 4k and it was very very clean looking - they did a great job in post, I know Fincher 'denoises' all his Red made films in post , its not got a 'normal dark Fincher green tinge grade like 'Dragon Tattoo' was - its a more punchy mainstream colour plate in the grade - there are some very dark shots - I do think Jeff Cronenweth is a superb cinematographer and is taking over the late great Gordon Willis's tag of ' The Prince Of Darkness' - Jeff does some very very dark moody work on this film - you are looking into shadows to see faces and detail - its a great lesson in less is more lighting wise and it has the 'Fincher camera mode look '- camera only moves when it needs to, no zooming and no stready cam .

David Fincher is a master of modern digital film making.

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And now the new Lightworks 12.x is the same across Windows, MacOS and Linux.. on a current job I used it to take 4 low res screeners with burned in timecode, each 1hr long episodes, and make all my searchable annotated cue points (rolling when it didn't need to be so accurate) to be used for pull requests from a D5. You can modify the cue point timestamps to match a master tape just by slipping the clip in a new timeline (this was a workaround, modify option wasn't cutting it), then export your cue points for any timeline as a cvs file, it includes timecode as the first field, which can be imported into a spreadsheet template (what we needed for the FCP batchlist). Saved me tons of time copying and pasting and this function works with the free version. Got out of the office, took it to a kinko's masquerading as a Coffee Bean.

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I've been doing a bit of assistant editing with Avid Media Composer and my god that software...great little things but it just crashes immediately and oh lord the bins management! It really reeks of the 90's software design.

 

People actually work with this thing? I guess it's enough that it does multi-editor projects pretty well. 

 

And in other news, the new UI in Premiere and After Effects seems very childish. So much contrast and blue.

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Ha, speaking of the late 90's, I still have 18GB purple SCSI shuttles at home. I want to fire up the E8 and see what's on them, but that will probably never happen... it's going to be stuff like an interlaced 720x480 dancing taco that will just make me sad.

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