premiere pro Archives - Blog
As a filmmaker, I always want to challenge myself both creatively and technically. I pursue projects that can stimulate me on several levels. If I am going to commit a year of my life to a feature film…it is crucial that I walk away with new skills, a successful storytelling experience and a lot of fun in the trenches with my team.
When I was asked by director Scotty Waugh to edit 6 BELOW…all my personal and professional requirements were met. All the checkboxes were ticked. The true story of Eric LeMarque, a professional hockey player, that went snowboarding and got trapped in a snowstorm on an isolated mountain for 8 days was riveting.
As fate would have it, Scotty didn’t know I knew Eric LeMarque when he asked me to edit the film. He didn’t know that Eric and I both played professional hockey together 15 years earlier. That only added to the immense sense of responsibility I had to deal with in telling his true story in the best manner possible. The conflict of editor versus friend.
Then Scotty dropped a couple huge technical bombs on me. 6 BELOW would be the first entire feature film in the history of Hollywood to be presented in the Barco Escape format. The 7:1 aspect ratio is the widest of any format in 100 years. Three 2K DCPs are projected in sync onto 3 full-sized movie screens to create an incredibly immersive viewing experience.
On top of that, we also had to deliver a 2.76:1 aspect ratio (same as the 70mm version of “The Hateful Eight”) theatrical version for traditional one-screen theaters. That meant two complete separate feature film edits to accommodate for the different framings of each format.
After all that…there was one more surprise that Scotty had waiting for me…
I spent 10 months editing 6 BELOW and you only need 97 minutes to enjoy it!
It’s in theaters October 12th and available to stream in HD on October 13th.
I will be posting a breakdown of how I created the first ever 6K Native workflow for a Hollywood feature film here on my blog October 14th.
Until then, here’s a some background on the true story of 6 BELOW…
When a snowstorm strands former professional hockey player Eric LeMarque atop the Sierra Nevada Mountains for eight days, he is forced to face his past and come to terms with his personal demons in order to survive.
We discussed my journey from professional hockey player to editing 11 feature films in Hollywood and the creative process that spans both worlds.
I share how I starting shooting and editing films with a VHS cameras and decks in the 1980’s all the way up to working on: Deadpool, Gone Girl, 6 Below and Sharknado 2 and more.
Here’s the 16-minute video:
The first time I heard “Fuck The Pain Away” was in Sofia Coppola’s film
LOST IN TRANSLATION (2003) starring Bill Murray and Scarlett Johansson. Great use of music to create an awkward moment in the strip club scene!
Canadian musician PEACHES wrote and recorded the song in 2000
for her album THE TEACHES OF PEACHES. I love the song, love her music, love her approach to life and finally had a chance to see her live.
On a cold night at Pappy & Harriet’s in Pioneertown…PEACHES brought the thunder. Sick show. I recorded the performance on my iPhone 6S Plus and decided to cut a video the next morning.
My goal was to try to make the most interesting video with only my one angle of footage shot from the side of the outdoor stage. I took it as a creative challenge to see what I could come up with. I also chose to not use 3rd party plug-ins and only use the built-in effects of Premiere Pro.
A Split Focus Diopter is a half convex piece of glass that attaches to the front of a camera’s main lens to make half the lens nearsighted. This lens can focus on a plane in the background and on a foreground element at the same time. To effectively apply this cinematographer’s tool a filmmaker has to plan out each shot so that both the foreground and background elements will be in focus.
The Spilt Focus Diopter creates a hyper-real visual effect that logically shouldn’t happen but somehow it magically delivers a striking and visceral image that resonates in the mind of the viewer.
SPLIT DIOPTER shots are most often attributed to Brian De Palma but director Robert Wise incorporated them into many of his films as a visual style and storytelling device, often using them more than 100 times in one film.
His split diopter shots became an integral part of the story and not just a stand-alone visual trick. In THE ANDROMEDA STRAIN, Robert Wise used 206 split diopter shots…the most in any feature film I’ve researched.
Robert Wise edited Citizen Kane. That alone is most impressive. He then went on to direct: The Day the Earth Stood Still, Run Silent Run Deep, West Side Story, The Haunting, The Sound of Music, Star Trek: The Motion Picture and 35 other feature films. On THE ANDROMEDA STRAIN, Wise teamed up again with DP Richard H. Kline, one his favorite cinematographers. They went on to film Star Trek: The Motion Picture in 1979 which had over 100 split diopter shots as well.
CINEMASH – A video essay that points out similarities in cinema.
These similarities can be visual, sonic, story or thematic.
No text or VO allowed. Maximum length of 24 seconds.
A visual homage to ALIENS (1986) in ROGUE ONE (2016)
Film Editing begins with organization. A feature film can have anywhere from 77 minutes of footage as in PRIMER to over 500 hours of footage shot on DEADPOOL. On both films…keeping track of the footage and making it all instantly accessible to the editor is paramount to a successful edit. On my current feature film 6 BELOW I am using markers in a new way.
By using MARKERS on timelines and sequences to notate takes, scenes and memorable moments an editor can isolate specific shots or sections that all the filmmakers can use to help wrangle all the footage and help tell a clearer story with all the footage.
All editing software allows for dropping markers on timelines but I utilize one little know function inside Adobe Premiere Pro to help me mark larger groups of shots or sections of similar content. A marker is usually placed on one frame but I like to extend that marker to cover minutes or whole swaths of footage. I then assign a name to the marker and this allows me to visually spot my assets very easily inside my timeline.
Click the image below to see how to extend markers in Premiere Pro.
On Tuesday April 19th I will be presenting two NAB 2016 sessions. Both will share my work as post production workflow specialist and editorial consultant on the massively successful film. In both presentations I will be sharing the actual Premiere Pro timeline used to edit the film. Here is a sneak peek:
My first presentation is at 12:30pm Tuesday on the Adobe Stage.
I will also be moderating the Creative Master Series Deadpool panel at 4pm:
Stop by and say hi if you can!
I’ve just finished editorial on the feature film 6 BELOW starring Josh Hartnett and directed by Scotty Waugh (Need for Speed, Act of Valor). This is my 10th feature film as an editor and a very welcome challenge both creatively and technically. It’s also the first feature film to be edited natively in 6K. I’m cutting the original RED 6K Dragon files (R3D) with no transcoding or proxies in Adobe Premiere Pro. We are framing for a 2.76:1 aspect ratio like The Hateful Eight and using Panavision Primo 70 lenses.
UPDATE: After I was hired as editorial consultant on DEADPOOL, one of the first things I did was create a custom 2-monitor Premiere Pro template for post production.
This was a solid starting point for all the editors and assistants before they customized it further to their liking. I designed the workspace with THE PANCAKE TIMELINE already active and a basic bin structure to keep the project organized right off the bat.
I also arranged the panels in tabbed groupings that made logical sense for our workflow and it also allowed quick full screen maximization with the tilde (`) key.
There are a limitless choice of options when you set up a workspace…this custom template was the most efficient and nimble option for our specific needs.
You can download the Premiere Pro template we used on the film below…
DOWNLOAD: VASHI’S DEADPOOL PREMIERE PRO TEMPLATE
Until next time…