Picture Supply: Echobend
Echobend is a full-service manufacturing, post-production, inventive company, and movie/TV studio in Los Angeles, creating every thing from music movies to commercials, branded content material, characteristic movies and extra with the assistance of the Adobe Inventive Cloud.
We sat down with Echobend filmmakers Noah Wagner and Ryan Turner to be taught extra about how their group is utilizing Productions in Premiere Professional, After Results, Body.io and extra Inventive Cloud instruments to carry their latest initiatives to life, along with getting an inside have a look at their inventive beginnings.
Inform me slightly bit about Echobend and the varied initiatives you’re employed on.
Wagner: Echobend is a full-service manufacturing, post-production, inventive company, and movie/TV studio throughout 4 buildings within the Atwater Village neighborhood of Los Angeles. We do every thing from big-budget music movies and commercials to branded content material, podcasts, and have movies. Some standouts embody music movies for Nicki Minaj, Mariah Carey and Lizzo, commercials with Netflix, Activision Blizzard and Dr. Squatch, and our rising slate of options together with Me, Myself & the Void starring Kelly Marie Tran.
However our core ethos is group – fostering an ever-growing group of form, passionate, versatile filmmakers who lead with their coronary heart and put creativity first.
Turner: Once I began the corporate with my accomplice, Zubin Anklesaria, we wished to create a spot we wished we had once we first moved to LA. We frequently say Echobend is a spot the place loads of lone wolves got here collectively to type a wolf pack. We’re all trailblazers in our personal method however share a standard ardour and tradition.
How and the place did you first be taught to edit?
Turner: My dad’s a software program engineer, so I grew up round computer systems. On household holidays, I’d reduce collectively clips utilizing primary enhancing software program that got here with the digicam. In class, I made brief movies, parodies and sketches that aired on the varsity broadcast, however issues actually took off once I received Adobe CS3, with Photoshop and After Results alongside Premiere. I liked how seamlessly they labored collectively.
Wagner: I spent my summers as a child going to camp in rural Maine, the place we have been inspired to be bizarre, playful, and inventive with out worry of judgment. So, armed with the camcorder I purchased with my Bar Mitzvah cash, I’d shoot Jackass-style skits and loosely narrative skate movies with my mates. Again in school, I’d spend nights instructing myself Adobe CS2, painstakingly trimming clips on a laggy PC simply to get the timing proper for amusing. Yearly, I’d carry a brand new reduce to camp prefer it was a summer season blockbuster.
How do you usually start a mission/arrange your workspace?
Turner’s workspace. Picture Supply: Ryan Turner.
Wagner: For me, it’s all about group, folder construction, and pipelines – the place Productions is a lifesaver. I wish to assume by means of the workflow so that when I or anybody else on the Echobend group is in a inventive groove, we don’t get distracted by technical hurdles. I’ve realized the exhausting method that good prep is the distinction between a easy edit and a chaotic one.
Turner: I’ve spent nearly twenty years refining my course of, which shifts from narrative to industrial to music video. I like stringouts, markers, colour coding (all the time want extra colours!), transcriptions, and marking story beats or reads. As soon as the footage is neatly organized, I dive straight into flow-state work – pondering of an thought and executing it moments later. That’s why instruments like Premiere Professional’s new Media Intelligence Panel excite me. Effectivity all the time wins.
Inform us a couple of favourite scene or second from a latest mission and why it stands out to you.
Turner: I lately reduce Lizzo’s new music video, “Nonetheless Unhealthy,” and it was an absolute pleasure. The footage was epic: flaming automobiles, chook dancers, metropolis streets – a lot good materials that each shot needed to earn its place. Director Colin Tilley inspired me to experiment with new strategies and transitions, constructing off my concepts and giving me freedom to play. That’s my favourite kind of management – encouraging play and sparking creativity.
What are some particular post-production challenges you confronted lately, and the way did you go about fixing them?
The Echobend group utilizing Digital camera to Cloud on set with the Tennis Channel. Picture Supply: Ryan Turner
Turner: We lately labored on a collection of commercials for the Tennis Channel that includes a number of the world’s prime opponents at Indian Wells. We shot on a Wednesday, and the spots wanted to be reduce, authorised and completed in time to air on Friday. The one method we have been in a position to pull this off was through Digital camera to Cloud by means of Body.io with our editor again at our LA workplace. The director and editor each labored to construct out the template for the edit, after which the editor would drop in footage because it got here in. A tough reduce was performed the identical night time the shoot wrapped, and we have been in a position to ship every thing (with colour and VFX) inside 48 hours. An ideal instance of when prep meets effectivity and a well-oiled machine.
What Adobe instruments do you utilize as part of your workflow?Wagner: The brief reply? All of them – we’re an Adobe home by means of and thru. Personally, I stay in Premiere Professional for every thing from commercials to options, and After Results is my go-to for compositing and visible polish. Body.io is indispensable for each shopper evaluation and our inner file sharing. I additionally depend on Productions to maintain initiatives in sync, permitting our AEs to produce editors with the newest belongings with out interrupting their stream. Digital camera to Cloud helps with fast-turnaround edits, Textual content-Based mostly Enhancing lets us swiftly sift by means of high-ratio documentary footage, Improve Speech and Adobe Podcast energy our audio work, and Generative Prolong helps fill unintuitive timeline gaps – each for image and music.
In the event you might share one tip about Premiere Professional, what would it not be?
Turner: Apart from trim clip to playhead (my favourite shortcut!), I like locking layers to divide every part of audio or video. It forces you to remain organized and maintain issues inside your little locked prisons. It additionally actually saves time when onlining and prepping for colour and sound. I additionally colour code every thing. It helps me rapidly wrap my head round sections and takes, and exchange something that’s wanted from my selects sequence.
Turner’s Premiere Professional timeline for a latest music video. Picture Supply: Ryan Turner.
Who’s your inventive inspiration?
Wagner: The whole group right here at Echobend. There’s all the time somebody directing a cool idea, pulling off an unlimited manufacturing, or trailblazing a brand new expertise or workflow. Everybody’s pushing the envelope collectively and is tremendous beneficiant about their course of, which is uncommon.
