I edited a
film called Everything Everywhere All at Once.
Thank you.
I made it with my two
friends, Daniel Scheinert and Dan Kwan.
It's an insane film and it's all Premiere's fault
because Premiere allowed us to experiment so freely and so quickly
that basically any idea we had, we could get out in a couple of minutes.
Just try things, experiment, throw everything on the wall.
A lot of the reason for that is the the way
that Premiere allows us to kind of collaborate.
We started cutting it in 2020, two weeks before lockdown,
and Adobe had kind of heard of this workflow.
Through conversations with them,
they let us know that there was this thing called Productions coming out,
and Productions
just this movie 100% would not have been
possible to pull off in the way that we pulled it off without Productions.
I have my edit file.
I have Dan Kwan's, Daniel Scheinert's
and then any other editors that we wanted to get involved.
So we're constantly opening it up.
If we can get stuck on a scene, we'll bring in an editor
or an artist or anything,
anyone who has the kind of sensibility that we think will work.
The thing about Premiere that makes this possible
is that we can teach someone how to use Premiere the basics in a half day
so we can have a swarm that's composed of
a couple of editors of varying technical abilities,
and maybe a fine artist or a photographer who we've sat down for half a day,
taught the basics of Premiere, but they have a certain sensibility
that we think or a certain sensitivity to the subject matter
that we think would help the project.
And they can just be this kind of idea generating factory,
filtering it all back into a central editor.
One of Premiere's
big features that we used and in this film were the Time Remapping keyframes.
So the Daniels overcranked almost every shot in this film.
We just
really went crazy with the speed ramping.
So what we would do is we'd go in and kind of moment by moment,
we would decide what needs to be quick, what needs to be a little slower,
where do we have the wait. A lot of times it means leading into a hit.
Kind of one of our weird approaches to using Premiere is we like to find ways
to use Premiere and the filters in ways that aren't necessarily
it's not necessarily designed to do but we can still reap the benefits
because somehow the robustness of Premiere
allows it to keep functioning even when you're using it wrong,
which I think is one of the greatest parts about Premiere.
So we do a lot of experimentation with audio.
Let's take this step. For example,
let's see what
happens if we put Matrix Reverb on it seven times.
Eight times.
And then gain it up a bunch.
So it gets it becomes this kind of musical instrument.
So let's see if we do it
five, six more times.
It starts to become something else.
You get this weird low end,
it becomes this kind of water harp sound kind of a helicopter.
So the great thing about Premiere is that a lot of other apps
would just not do that.
They wouldn't let you do that or it would just stop playing.
People talk a lot about the democratization of filmmaking,
and that's been kind of a catchword for a long time.
We can bring these ideas, these these kind of like strange ideas
and these strange sensibilities
and bring in these people who know nothing about the rules of editing
what you're supposed to do, how you're supposed to use a
project file or an audio file.
And we can just let them break it.
We can let them do something that has never been done before.
And Premiere can keep up.
You know, art is messy. Creativity is messy.
We should embrace that.
And we should also celebrate the fact that Premiere allows
us to be messy and allows us to edit however we want.
So the reality of this timeline is
I think kind of beautiful,
but it's it's a mess and it works.
This was the timeline that we were using to do screenings.
This is what we were,
you know, working in.
Now, some people.
Hate this and you don't have to work like this.
But I love that I can work like this and that Premiere doesn't get mad at me
or tell me that I need to have
everything on certain tracks, or that if I have more than six or seven
audio tracks we have, I don't know how many audio tracks we have in here,
but it's a lot.
Yeah, 37 audio tracks.
We've gotten up to 60 before and I don't want to change the way I work
because it's looks nicer.
I want to work the way I work
because it feels good and allows me to get my ideas down as quickly as I can.
Thanks, you all.