Vashi Nedomansky / Tim Miller / Katie McQuerrey / Catherine Farrell
Adobe Premiere Pro was used to edit two of the most anticipated films of 2016. At Sundance 2016, I was part of a panel discussing how we cut HAIL CAESAR! and DEADPOOL.
On January 23rd, 2016 I shared the stage with 3 amazing filmmakers to discuss our films. I worked with Deadpool director Tim Miller for the last 9 months on editorial for the upcoming Marvel Super Hero film. Shot digitally on ARRI, my role as Editorial Consultant was to design the workflow for the post production and train all the editors in properly using Adobe Premiere Pro. With over 1100 VFX shots, the integration between Premiere Pro and After Effects (using Dynamic Link) was critical in keeping the production moving forward.
Hail, Caesar! was shot on film by Roger Deakins and directed by Joel and Ethan Coen. Editor Katie McQuerrey and Post Production Supervisor Catherine Farrell also used Premiere Pro to edit their film. The Coen brothers have finally transitioned away from Final Cut Pro 7 which they used on the bulk of their previous films.
“Adobe Presents” at Sundance Film Festival with Vashi Nedomansky
During the 64-minute panel, we discussed our filmmaking experiences with Premiere Pro and shared stories from the trenches in front of a packed house. Enjoy!
CLICK ON IMAGE TO PLAY
Until next time…
There are 3 comments
What tool is Katie talking about a “peddle” that cuts for you?
And they tried to mimic exactly how they worked on film, and how they worked on film was that dailies were watched and then Ethan would pull the select takes, on a moviola and then those would be handed to Joel on the KEM and spliced together, and then all the manipulation that you have to do in editing, would happen then.
Well, I think that the challenge with the Deadpool character — editing-wise and I think filmmaking-wise — is his greatest asset and also his greatest challenge. It is the sort of irreverent sense of humor and the meta thing, which is the thing that we love and the fans love, but it completely subverts dramatic tension, momentum, all these sorts of things that you need to kind of engage the audience in the movie.