Adobe MAX 2015 – Vashi Nedomansky
ADOBE MAX 2015 – The Creativity Conference will be held in Los Angeles from October 3 to October 7. I’m very proud to have been invited to present and will be speaking about the work I have edited over the last year. I will share my experiences editing 2 feature films, 2 documentaries, a music video, a short film and a commercial. All of these projects were cut in Adobe Premiere Pro because…for me, it’s the most powerful, flexible and constantly improving NLE out there.
Adobe MAX – Vashi Nedomansky
Here are some of my projects I will be discussing:
THAT WHICH I LOVE DESTROYS ME – PTSD documentary
PENTATONIX – Mary Did You Know (Music Video with 37 million views)
DEADPOOL – The 2016 Marvel Super Hero film starring Ryan Reynolds
It’s been a long, hard year of work that has been extremely rewarding. The variety of my projects has kept me sharp and excited. Film editing at its core is storytelling. I’m very grateful to have the opportunities to cut various different projects across numerous genres and styles. At Adobe MAX 2015 I will have the opportunity to share my creative process and flesh out how and why I make the choices I do. Come and join me HERE if you can!
My session at Adobe MAX 2015
Until next time…
One Comment
I was in one of your sessions at Adobe Max and really enjoyed it! I’ve been editing in Premiere since 1993 and it’s great to see it finally getting the use and recognition I feel it deserves.
Will you be posting the slides you used in your MAX session? I took pictures with my phone, but I can’t really make out the text. They contained a lot of information that I think my editing team will find useful.
You also mentioned DCP and how that is the future of film distribution. If people have any hope of showing their film in a large theatre, that’s the only route! While Premiere will export a DCP, that only gets you 25% of the way there. You said you took your DCP to Deluxe and had them test it.
I would caution filmmakers that there is a LOT that has to happen to the DCP after it’s generated before it will work at a theatre. Drives have to be specifically formatted to work with the theatre management system. We do a lot of DCP conversion for our clients (and at less than a third the cost of Deluxe or Technicolor) and it was a long process of working with the various hardware manufacturers that make digital projectors. They are not all created equal and just because your DCP might work on a DOREMI system does not mean it will work on a Sony or Dolby system.
That’s my cautionary tale for the day. We turn a lot of frustrated filmmakers into clients. There’s nothing more frustrating that missing a screening or not making it into a festival because your DCP doesn’t work. Thanks again for your session at MAX! I hope you will be posting your slides soon!