Visual effects editor Jon Carr shared how they used the integration between Premiere and After Effects to facilitate rapid generation of temporary “postvis” effects.
The post team extolled the improvements in shared project support and project opening times since their last Premiere endeavor on the first Deadpool movie.
The new Terminator was edited in Premiere Pro, sharing the project assets between a large team of editors and assistants, with extensive use of After Effects, Adobe’s newly acquired Substance app and various other tools in the Creative Cloud. My experience started off by attending a screening of the new Terminator Dark Fate film at LA Live, followed by Q&A with the director and post team. The main show ran from Monday to Wednesday, with a number of pre-show seminars and activities the preceding weekend.
From a post production perspective, the most significant pieces of news are the release of Premiere Pro 14 and After Effects 17 (a.ka., the 2020 releases of those Creative Cloud apps). Adobe showed me, and 15,000 of my closest friends, the newest updates to pretty much all of its Creative Cloud applications, as well as a number of interesting upcoming developments. Last week, I had the opportunity to attend Adobe’s MAX conference at the LA Convention Center.