and this movie the central premise that
we operate from is that Judgment Day is
inevitable
Terminator dark fate is the direct
sequel to Terminator 2 the opportunity
this movie is to finish the story of
these characters not only Jim Cameron is
coming back to produce Arnold's coming
back again and more importantly Linda to
play this iconic character Sarah Connor
is the best of all possible worlds
okay we're testing and what we want to
do here and then getting closer to final
Terminator dark fate is as big as you
can get this is probably the biggest
movie that's been edited on Adobe
Premiere I've had a relationship with
Adobe for almost my entire career as a
visual effects artist I used Adobe to
edit my own work 20 years ago I was
really excited when I heard this film
was going to be done on premiere because
it allowed me to utilize some of the new
tools that Adobe's really been pushing
in terms of the collaborative workflow
for a major feature film we had four
assistants editors we had three visual
effects editors all these people are
needing to access the project file and
write into it at the same time as me and
we were able to do that
we've got 2600 VFX shots
probably ten to 15 people in timelines
sharing at real time it's the sort of
deal-breaker for these types of
Hollywood movies that's the kind of I
think it's a total game changer for
Adobe I'll be back
as Julian's cutting I'll go ahead and
start pulling scenes from him if it's
blue-screen comps I can dynamic link and
after-effects and with the background
plates easily go ahead and replace that
blue screen so he doesn't have to sit
there and watch a car scene with blue
screen he's got those comps already done
you can have people working in After
Effects that are feeding back into the
Edit in a way that's very organic and
doesn't waste a lot of time I'm working
hand in hand with the editor he or she
will come to me and say I need this
thing on the screen here it doesn't
exist make it happen you were developing
a concept that will ultimately be done
it at a higher level by visual effects
houses but you need sort of a temp
version - proof of concept I'll be in
Premiere I'll be able to dynamically
link that shot into After Effects and
use all the Adobe ecosystem really
easily to be able to create something as
a placeholder or sometimes take it all
the way to final and that provides the
editor what they're after to be able to
show the director their vision what I
was able to do is I bought a $2.00
digital t800 model and then I used a
product called mixin mo which is a
motion capture library where I was able
to upload that t800 rig it and mix ammo
and then I had access to thousands of
different motion capture library
movements render it out and then bring
it to After Effects and then create a
comp where I actually had 1,800 in the
scene when there would be nothing and he
was moving around and doing all these
things and I just blew Julian away
who's the future but you didn't change
our fate okay we just made a major
Hollywood film on premiere and
absolutely it could be done
premiere can withstand big long for
movies we have a lot of assets in this
movie we're 20 visual effects layers
deep we've got 30 audio tracks with huge
VFX scenes we do a lot of speed effects
ramps color effects third-party camera
shake plugins split screens and kind of
throw all this stuff at the timeline and
premiere makes it work
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