Adobe creative tools brought 'Terminator: Dark Fate' to life
Los Angeles: 'Terminator: Dark Fate,' the sixth installment of the successful film franchise has entirely been cut on Adobe Creative Cloud and for its director Tim Miller, the visual effects created by Adobe tools have brought life to the otherwise mechanical human-machine conversation.
Veteran actor Arnold Schwarzenegger is back with this movie and the biggest catch is the return of Sarah Conner (played by Linda Hamilton).
"We knew we cannot create the nostalgia of the original 'Terminator' movie but we wanted to continue with the story of Sarah Conner. This is a worthy continuation of the story of Conner with tons of action created on Adobe tools," Miller told the audience during a special screening of the film at Regal LA Live on Sunday.
A direct sequel to the first two films of the franchise, this sixth installment of the "Terminator" series, which began way back in 1984, is all about karma and karmic connections.
"I am proud of this franchise which is about Sarah and not John Conner (her son). We achieved smooth editing operation thanks to various Adobe tools that made the shots look real," added Miller who also used Adobe Premiere Pro for his earlier movie Deadpool.
There are at least 2,500-2,600 high-quality visual effects in the movie.
"Adobe creative tools helped us iron out visual effects for a seamless visual experience in some of the toughest shots," Miller noted.
Miller and his team harnessed the power of Adobe Premiere Pro, After Effects and Photoshop to bring the 'Terminator: Dark Fate' movie to the big screen.
Miller's debut feature film was edited on Adobe Premiere Pro after a strong recommendation from "Gone Girl" director David Fincher.
One of the reasons that Miller insisted on working with Premiere Pro is his long history with Adobe, which began decades ago.
According to Adobe, before he became a director of Hollywood blockbusters, Miller was an unknown animator and visual effects artist. Much of his day was spent working on Adobe creative solutions.
"People may think that Adobe only listens to me because I'm working on a big movie, but I had that same level of connection even when I was just a dude with a computer," says Miller.
"Adobe's goal is to make the best tools for the artist, and my goal is to have the best tools available. So I'm a big fan of working with a company like Adobe that actively asks for your feedback. Everyone benefits."
"If you've ever worked on feature films, you know that the assistant editors end up spending a lot of their time on housekeeping tasks, like organising clips into the right bins," says Miller.
"Adobe Premiere Pro is very good at helping us automate and streamline those tasks so that our assistant editors can spend more time working on the actual edit," he added.
Another reason that Premiere Pro was the best choice for this film is its seamless integration with Adobe After Effects.
The filmmaker said they did not use Cloud owing to security concerns but saved the data in SSD drives and Apple Mac desktops.
"No Cloud for us as there are security concerns about the film getting leaked," said the director.
For the China version of the film, some gory scenes were sanitised to fit the censor regulations in the country, informed the film crew.