Tag Archives: Terminator: Dark Fate

Blur Studio uses new AMD Threadripper for Terminator: Dark Fate VFX

By Dayna McCallum

AMD has announced new additions to its high-end desktop processor family. Built for demanding desktop and content creation workloads, the 24-core AMD Ryzen Threadripper 3960X and the 32-core AMD Ryzen Threadripper 3970X processors will be available worldwide November 25.

Tim Miller on the set of Dark Fate.

AMD states that the powerful new processors provide up to 90 percent more performance and up to 2.5 times more available storage bandwidth than competitive offerings, per testing and specifications by AMD performance labs. The 3rd Gen AMD Ryzen Threadripper lineup features two new processors built on 7nm “Zen 2” core architecture, claiming up to 88 PCIe 4.0 lanes and 144MB cache with 66 percent better power efficiency.

Prior to the official product launch, AMD made the 3rd Gen Threadrippers available to LA’s Blur Studio for work on the recent Terminator: Dark Fate and continued a collaboration with the film’s director — and Blur Studio founder — Tim Miller.

Before the movie’s release, AMD hosted a private Q&A with Miller, moderated by AMD’s James Knight. Please note that we’ve edited the lively conversation for space and taken a liberty with some of Miller’s more “colorful” language. (Also watch this space to see if a wager is won that will result in Miller sporting a new AMD tattoo.) Here is the Knight/Miller conversation…

So when we dropped off the 3rd Gen Threadripper to you guys, how did your IT guys react?
Like little children left in a candy shop with no adult supervision. The nice thing about our atmosphere here at Blur is we have an open layout. So when (bleep) like these new AMD processors drops in, you know it runs through the studio like wildfire, and I sit out there like everybody else does. You hear the guys talking about it, you hear people giggling and laughing hysterically at times on the second floor where all the compositors are. That’s where these machines really kick ass — busting through these comps that would have had to go to the farm, but they can now do it on a desktop.

James Knight

As an artist, the speed is crucial. You know, if you have a machine that takes 15 minutes to render, you want to stop and do something else while you wait for a render. It breaks your whole chain of thought. You get out of that fugue state that you produce the best art in. It breaks the chain between art and your brain. But if you have a machine that does it in 30 seconds, that’s not going to stop it.

But really, more speed means more iterations. It means you deal with heavier scenes, which means you can throw more detail at your models and your scenes. I don’t think we do the work faster, necessarily, but the work is much higher quality. And much more detailed. It’s like you create this vacuum, and then everybody rushes into it and you have this silly idea that it is really going to increase productivity, but what it really increases most is quality.

When your VFX supervisor showed you the difference between the way it was done with your existing ecosystem and then with the third-gen Threadripper, what were you thinking about?
There was the immediate thing — when we heard from the producers about the deadline, shots that weren’t going to get done for the trailer, suddenly were, which was great. More importantly, you heard from the artists. What you started to see was that it allows for all different ways of working, instead of just the elaborate pipeline that we’ve built up — to work on your local box and then submit it to the farm and wait for that render to hit the queue of farm machines that can handle it, then send that render back to you.

It has a rhythm that is at times tiresome for the artists, and I know that because I hear it all the time. Now I say, “How’s that comp coming and when are we going to get it, tick tock?” And they say, “Well, it’s rendering in the background right now, as I’m watching them work on another comp or another piece of that comp.” That’s pretty amazing. And they’re doing it all locally, which saves so much time and frustration compared to sending it down the pipeline and then waiting for it to come back up.

I know you guys are here to talk about technology, but the difference for the artists is the instead of working here until 1:00am, they’re going home to put their children to bed. That’s really what this means at the end of the day. Technology is so wonderful when it enables that, not just the creativity of what we do, but the humanity… allowing artists to feel like they’re really on the cutting edge, but also have a life of some sort outside.

Endoskeleton — Terminator: Dark Fate

As you noted, certain shots and sequences wouldn’t have made it in time for the trailer. How important was it for you to get that Terminator splitting in the trailer?
 Marketing was pretty adamant that that shot had to be in there. There’s always this push and pull between marketing and VFX as you get closer. They want certain shots for the trailer, but they’re almost always those shots that are the hardest to do because they have the most spectacle in them. And that’s one of the shots. The sequence was one of the last to come together because we changed the plan quite a bit, and I kept changing shots on Dan (Akers, VFX supervisor). But you tell marketing people that they can’t have something, and they don’t really give a (bleep) about you and your schedule or the path of that artist and shot. (Laughing)

Anyway, we said no. They begged, they pleaded, and we said, “We’ll try.” Dan stepped up and said, “Yeah, I think I can make it.” And we just made it, but that sounds like we were in danger because we couldn’t get it done fast enough. All of this was happening in like a two-day window. If you didn’t notice (in the trailer), that’s a Rev 7. Gabriel Luna is a Rev 9, which is the next gen. But the Rev 7s that you see in his future flashback are just pure killers. They’re still the same technology, which is looking like metal on the outside and a carbon endoskeleton that splits. So you have to run the simulation where the skeleton separates through the liquid that hangs off of an inch string; it’s a really hard simulation to do. That’s why we thought maybe it wasn’t going to get done, but running the simulation on the AMD boxes was lightning fast.

 

 

 

Julian Clarke on editing Terminator: Dark Fate

By Oliver Peters

Linda Hamilton’s Sarah Connor and Arnold Schwarzenegger T-800 are back to save humanity from a dystopian future in this latest installment of the Terminator franchise. James Cameron is also back and brings with him writing and producing credits, which is fitting — Terminator: Dark Fate is in essence Cameron’s sequel to Terminator 2: Judgment Day.

Julian Clarke

Tim Miller (Deadpool) is at the helm to direct the tale. It’s roughly two decades after the time of T2, and a new Rev-9 machine has been sent from an alternate future to kill Dani Ramos (Natalia Reyes), an unsuspecting auto plant worker in Mexico. But the new future’s resistance has sent back Grace (Mackenzie Davis), an enhanced super-soldier, to combat the Rev-9 and save her. They cross paths with Connor, and the story sets off on a mad dash to the finale at Hoover Dam.

Miller brought back much of his Deadpool team, including his VFX shop Blur, DP Ken Seng and editor Julian Clarke. This is also the second pairing of Miller and Clarke with Adobe. Both Deadpool and Terminator: Dark Fate were edited using Premiere Pro. In fact, Adobe was also happy to tie in with the film’s promotion through its own #CreateYourFate trailer remix challenge. Participants could re-edit their own trailer using supplied content from the film.

I recently spoke with Clarke about the challenges and fun of cutting this latest iteration of such an iconic film franchise.

Terminator: Dark Fate picks up two decades after Terminator 2, leaving out the timelines of the subsequent sequels. Was that always the plan, or did it evolve out of the process of making the film?
That had to do with the screenplay. You were written into a corner by the various sequels. We really wanted to bring Linda Hamilton’s character back. With Jim involved, we wanted to get back to first principles and have it based on Cameron’s mythology alone. To get back to the Linda/Arnold character arcs, and then add some new stuff to that.

Many fans were attracted to the franchise by Cameron’s two original Terminator films. Was there a conscious effort at integrating that nostalgia?
I come from a place of deep fandom for Terminator 2. As a teenager I had VHS copies of Aliens and Terminator 2 and watched them on repeat after school! Those films are deeply embedded in my psyche, and both of them have aged well — they still hold up. I watched the sequels, and they just didn’t feel like a Terminator film to me. So the goal was definitely to make it of the DNA of those first two movies. There’s going to be a chase. It’s going to be more grounded. It’s going to get back into the Sarah Connor character and have more heart.

This film tends to have elements of humor unlike most other action films. That must have posed a challenge to set the right tone without getting campy.
The humor thing is interesting. Terminator 2 has a lot of humor throughout. We have a little bit of humor in the first half and then more once Arnold shows up, but that’s really the way it had to be. The Dani Ramos character — who’s your entry point into the movie — is devastated when her whole family is killed. To have a lot of jokes happening would be terrible. It’s not the same in Terminator 2 because John Connor’s stepparents get very little screen time, and they don’t seem that nice. You feel bad for them, but it’s OK that you get into this funny stuff right off the bat. On this one we had to ease into the humor so you could [experience] the gravity of the situation at the start of the movie.

Did you have to do much to alter that balance during the edit?
There were one or two jokes that we nipped out, but it wasn’t like that whole first act was chock full of jokes. The tone of the first act is more like Terminator, which is more of a thriller or horror movie. Then it becomes more like T2 as the action gets bigger and the jokes come in. So the first half is like a bigger Terminator and the second half more like T2.

Deadpool, which Tim Miller also directed, used a very nonlinear story structure, balancing action, comedic moments and drama. Terminator was always designed with a linear, straightforward storyline. Right?
A movie hands you certain editing tools. Deadpool was designed to be nonlinear, with characters in different places, so there are a whole bunch of options for you. Terminator: Dark Fate is more like a road movie. The detonation of certain paths along the road are predetermined. You can’t be in Texas before Mexico. So the structural options you had were where to check in with the Rev-9, as well as the inter-scene structure. Once you are in the detention center, who are you cutting to? Sarah? Dani? However, where that is placed in the movie is pretty much set. All you can do is pace it up, pace it down, adjust how to get there. There aren’t a lot of mobile pieces that can be swapped around.

When we had talked after Deadpool, you discussed how you liked the assistants to build string-outs — what some call a Kem roll. Similar action is assembled back to back into a sequence in order from every take. Did you use that same organizational method on Terminator: Dark Fate?
Sometimes we were so swamped with material that there wasn’t time to create string-outs. I still like to have those. It’s a nice way to quickly see all the pieces that cover a moment. If you are trying to find the one take or action that’s 5% better than another, then it’s good to see them all in a row, rather than trying to keep it all in your head for a five-minute take. There was a lot of footage that we shot in the action scenes, but we didn’t do 11 or 12 takes for a dialogue scene. I didn’t feel like I needed some tool to quickly navigate through the dialogue takes. We would string out the ones that were more complicated.

Depending on the directing style, a series of takes may have increasingly calibrated performances with successive takes. With other directors, each take might be a lot different than the one before and after it. What is your approach to evaluating which is the best take to use?
It’s interesting when you use the earlier takes versus the later takes and what you get from them. The later takes are usually the ones that are most directed. The actors are warmed up and most closely nail what the director has in mind. So they are strong in that regard, but sometimes they can become more self-conscious. So sometimes the first take is more thrown away and may have less power but feels more real — more off the cuff. Sometimes a delivered dialogue line feels less written, and you’ll buy it more. Other times you’ll want that more dramatic quality of the later takes. My instinct is to first use the later takes, but as you start to revise a scene, you often go back to pieces of the earlier takes to ground it a little more.

How long did the production and post take?
It took a little over 100 days of shooting with a lot of units. I work on a lot of mid-budget films, so this seemed like a really long shoot. It was a little relentless for everyone — even squeezing it into those 100 days. Shooting action with a lot of VFX is slow due to the reset time needed between takes. The ending of the movie is 30 minutes of action in a row. That’s a big job shooting all of that stuff. When they have a couple of units cranking through the dialogue scenes plus shooting action sequences — that’s when I have to work hard to keep up. Once you hit the roadblocks of shooting just those little action pieces, you get a little time to catch up.

We had the usual director’s cut period and finished by the end of this September. The original plan was to finish by the beginning of September, but we needed the time for VFX. So everything piled up with the DI and the mix in order to still hit the release date. September got a little crazy. It seems like a long time — a total of 13 or 14 months — but it still was an absolute sprint to get the movie in shape and get the VFX into the film in time. This might be normal for some of these films, but compared to the other VFX movies I’ve done, it was definitely turning things up a notch!

I imagine that there was a fair amount of previz required to lay out the action for the large VFX and CG scenes. Did you have that to work with as placeholder shots? How did you handle adjusting the cut as the interim and final shots were delivered?
Tim is big into previz with his background in VFX and animation and owning his own VFX company. We had very detailed animatics going into production. Depending on a lot of factors, you still abandon a lot of things. For example, the freeway chases are quite a bit different because when you go there and do it with real cars, they do different things. Or only part of the cars look like they are going fast enough. Those scenes became quite different than the previz.

Others are almost 100% CG, so you can drop in the previz as placeholders. Although, even in those cases, sometimes the finished shot doesn’t feel real enough. In the “cartoon” world of previz, you can do wild camera moves and say, “Wow, that seems cool!” But when you start doing it at photoreal quality, then you go, “This seems really fake.” So we tried to get ahead of that stuff and find what to do with the camera to ground it. Kind of mess it up so it’s not too dynamic and perfect.

How involved were you with shaping the music? Did you use previous Terminator films’ scores as a temp track to cut with?
I was very involved with the music production. I definitely used a lot of temp music. Some of it was ripped from old Terminator movies, but there’s only so much Terminator 2 music you can put in. Those scores used a lot of synthesizers that date the sound. I did use “Desert Suite” from Terminator 2, when Sarah is in the hotel room. I loved having a very direct homage to a Sarah Connor moment while she’s talking about John. Then I begged our composer, Tom Holkenborg (from Junkie XL), to consider doing a version of it for our movie. So it is essentially the same chord progression.

That was an interesting musical and general question about how much do you lean into the homage thing. It’s powerful when you do it, but if you do it too much, it starts to feel artificial or pandering. So I tried to hit the sweet spot so you knew you were watching a Terminator movie, but not so much that it felt like Terminator karaoke. How many times can you go da-dum-dum-da-da-dum? You have to pick your moments for those Terminator motifs. It’s diminishing returns if you do it too much.

Another inspirational moment for me was another part in Terminator 2. There’s a disturbing industrial sound for the T-1000. It sounds more like a foghorn or something in a factory rather than music, and it created this unnerving quality to the T-1000 scenes, when he’s just scoping things out. So we came up with a modern-day electronic equivalent for the Rev-9 character, and that was very potent.

Was James Cameron involved much in the post production?
He’s quite busy with his Avatar movies. Some of the time he was in New Zealand, some of the time he was in Los Angeles. Depending on where he was and where we were in the process, we would hit milestones, like screenings or the first cut. We would send him versions and download a bunch of his thoughts.

Editing is very much a part of his wheelhouse. Unlike many other directors, he really thinks about this shot, then that shot, then the next shot. His mind really works that way. Sometimes he would give us pretty specific, dialed-in notes on things. Sometimes it would just be bigger suggestions, like, “Maybe the action cutting pattern could be more like this …” So we’d get his thoughts — and, of course, he’s Jim Cameron, and he knows the business and the Terminator franchise — so I listened pretty carefully to that input.

This is the second film that you’ve cut with Premiere Pro. Deadpool was first, and there were challenges using it on such a complex project. What was the experience like this time around?
Whenever you set out to use a new workflow — not to say Premiere is new because it’s been around a long time and has millions of users, but it’s unusual to use it on large VFX movies for specific reasons.

L-R: Matthew Carson and Julian Clarke

On Deadpool, that led to certain challenges, and that’s just what happens when you try to do something new. The fact that we had to split the movie into separate projects for each reel, instead of one large project. Even so, the size of our project files made it tough. They were so full of media that they would take five minutes to open. Nevertheless, we made it work, and there are lots of benefits to using Adobe over other applications.

In comparison, the interface to Avid Media Composer looks like it was designed 20 years ago, but they have multi-user collaboration nailed, and I love the trim tool. Yet, some things are old and creaky. Adobe’s not that at all. It’s nice and elegant in terms of the actual editing process. We got through it and sat down with Adobe to point out things that needed work, and they worked on them. When we started up Terminator, they had a whole new build for us. Project files now opened in 15 seconds. They are about halfway there in terms of multi-user editing. Now everyone can go into a big, shared project, and you can move bins back and forth. Although, only one user at a time has write access to the master project.

This is not simple software they are writing. Adobe is putting a lot of work into making it a more fitting tool for this type of movie. Even though this film was exponentially larger than Deadpool, from the Adobe side it was a smoother process. Props to them for doing that! The cool part about pioneering this stuff is the amount of work that Adobe is on board to do. They’ll have people work on stuff that is helpful to us, so we get to participate a little in how Adobe’s software gets made.

With two large Premiere Pro projects under your belt, what sort of new features would you like to see Adobe add to the application to make it even better for feature film editors?
They’ve built out the software from being a single-user application to being multi-user software, but the inherent software at the base level is still single-user. Sometimes your render files get unlinked when you go back and forth between multiple users. There’s probably stuff where they have to dig deep into the code to make those minor annoyances go away. Other items I’d like to see — let’s not use third-party software to send change lists to the mix stage.

I know Premiere Pro integrates beautifully with After Effects, but for me, After Effects is this precise tool for executing shots. I don’t want a fine tool for compositing — I want to work in broad strokes and then have someone come back and clean it up. I would love to have a tracking tool to composite two shots together for a seamless, split screen of two combined takes — features like that.

The After Effects integration and the color correction are awesome features for a single user to execute the film, but I don’t have the time to be the guy to execute the film at that high level. I just have to keep going. I want to be able to do a fast and dirty version so I know it’s not a terrible idea, and then turn to someone else and say, “OK, make that good.” After Effects is cool, but it’s more for VFX editors or single users who are trying to make a film on their own.

After all of these action films, are you ready to do a different type of film, like a period drama?
Funny you should say that. After Deadpool I worked on The Handmaid’s Tale pilot, and it was exactly that. I was working on this beautifully acted, elegant project with tons of women characters and almost everything was done in-camera. It was a lot of parlor room drama and power dynamics. And that was wonderful to work on after all of this VFX/action stuff. Periodically it’s nice to flex a different creative muscle.

It’s not that I only work on science-fiction/VFX projects — which I love — but, in part, people start associating you with a certain genre, and then that becomes an easy thing to pursue and get work for.

Much like acting, if you want to be known for doing a lot of different things, you have to actively pursue it. It’s easy to go where momentum will take you. If you want to be the editor who can cut any genre, you have to make it a mission to pursue those projects that will keep your resume looking diverse. For a brief moment after Deadpool, I might have been able to pivot to a comedy career (laughs). That was a real hybrid, so it was challenging to thread the needle of the different tones of the film and make it feel like one piece.

Any final thoughts on the challenges of editing Terminator: Dark Fate?
The biggest challenge of the film was that, in a way, the film was an ensemble with the Dani character, the Grace character, the Sarah character and Arnold’s character — the T-800. All of these characters are protagonists that all have their individual arcs. Feeling that you were adequately servicing those arcs without grinding the movie to a halt or not touching bases with a character often enough — finding out how to dial that in was the major challenge of the movie, plus the scale of the VFX and finessing all the action scenes. I learned a lot.


Oliver Peters is an experienced film and commercial editor/colorist. In addition, he regularly interviews editors for trade publications. He may be contacted through his website at oliverpeters.com

Terminator: Dark Fate director Tim Miller

By Iain Blair

He said he’d be back, and he meant it. Thirty-five years after he first arrived to menace the world in the 1984 classic The Terminator, Arnold Schwarzenegger has returned as the implacable killing machine in Terminator: Dark Fate, the latest installment of the long-running franchise.

And he’s not alone in his return. Terminator: Dark Fate also reunites the film’s producer and co-writer James Cameron with original franchise star Linda Hamilton for the first time in 28 years in a new sequel that picks up where Terminator 2: Judgment Day left off.

When the film begins, more than two decades have passed since Sarah Connor (Hamilton) prevented Judgment Day, changed the future and re-wrote the fate of the human race. Now, Dani Ramos (Natalia Reyes) is living a simple life in Mexico City with her brother (Diego Boneta) and father when a highly advanced and deadly new Terminator — a Rev-9 (Gabriel Luna) — travels back through time to hunt and kill her. Dani’s survival depends on her joining forces with two warriors: Grace (Mackenzie Davis), an enhanced super-soldier from the future, and a battle-hardened Sarah Connor. As the Rev-9 ruthlessly destroys everything and everyone in its path on the hunt for Dani, the three are led to a T-800 (Schwarzenegger) from Sarah’s past that might be their last best hope.

To helm all the on-screen mayhem, black humor and visual effects, Cameron handpicked Tim Miller, whose credits include the global blockbuster Deadpool, one of the highest grossing R-rated films of all time (it grossed close to $800 million). Miller then assembled a close-knit team of collaborators that included director of photography Ken Seng (Deadpool, Project X), editor Julian Clarke (Deadpool, District 9) and visual effects supervisor Eric Barba (The Curious Case of Benjamin Button, Oblivion).

Tim Miller on set

I recently talked to Miller about making the film, its cutting-edge VFX, the workflow and his love of editing and post.

How daunting was it when James Cameron picked you to direct this?
I think there’s something wrong with me because I don’t really feel fear as normal people do. It just manifests as a sense of responsibility, and with this I knew I’d never measure up to Jim’s movies but felt I could do a good job. Jim was never going to tell this story, and I wanted to see it, so it just became more about the weight of that sense of responsibility, but not in a debilitating way. I felt pretty confident I could carry this off. But later, the big anxiety was not to let down Linda Hamilton. Before I knew her, it wasn’t a thing, but later, once I got to know her I really felt I couldn’t mess it up (laughs).

This is still Cameron’s baby even though he handed over the directing to you. How hands-on was he?
He was busy with Avatar, but he was there for a lot of the early meetings and was very involved with the writing and ideas, which was very helpful thematically. But he wasn’t overbearing on all that. Then later when we shot, he wanted to write a few of the key scenes, which he did, and then in the edit he was in and out, but he never came into my edit room. He’d give notes and let us get on with it.

What sort of film did you set out to make?
A continuation of Sarah’s story. I never felt it was John’s story to me. It was always about a mother’s love for a son, and I felt like there was a real opportunity here. And that that story hadn’t been told — partly because the other sequels never had Linda. Once she wanted to come back, it was always the best possible story. No one else could be her or Arnold’s character.

Any surprises working with them?
Before we shot, people were telling me, “You got to be ready, we can’t mess around. When Arnold walks on set you’d better be rolling!” Sure enough, when he walked on he’d go, “And…” (Laughs) He really likes to joke around. With Linda — and the other actors — it was a love-fest. They’re both such nice, down-to-earth people, and I like a collegial atmosphere. I’m not a screamer. I’m very prepared, and I feel if you just show up on time, you’re already ahead of the game as a director.

What were the main technical challenges in pulling it all together?
They were all different for each big action set piece, and fitting it all into a schedule was tough, as we had a crazy amount of VFX. The C-5 plane sequence was far and away the biggest challenge to do and [SFX supervisor] Neil Corbould and his team designed and constructed all the effects rigs for the movie. The C-5 set was incredible, with two revolving sets, one vertical and one horizontal. It was so big you could put a bus in it, and it was able to rotate 360 degrees and tilt in either direction at the same time.

You just can’t simulate that reality of zero gravity on the actors. And then after we got it all in camera, which took weeks, our VFX guy Eric Barba finished it off. The other big one was the whole underwater scene, where the Humvee falls over the top of a dam and goes underwater as it’s swept down a river. For that, we put the Humvee on a giant scissor lift that could take it all the way under, so the water rushes in and fills it up. It’s really safe to do, but it feels frighteningly realistic for the actors.

This is only my second movie, so I’m still learning, but the advantage is I’m really willing to listen to any advice from the smart people around me on set on how best to do all this stuff.

How early on did you start integrating post and all the VFX?
Right from the start. I use previz a lot, as I come from that environment and I’m very comfortable with it, and that becomes the template for all of production to work from. Sometimes it’s too much of a template and treated like a bible, but I’m like, “Please keep thinking. Is there a better idea?” But it’s great to get everyone on the same page, so very early on you see what’s VFX, what’s live-action only, what’s a combination, and you can really plan your shoot. We did over 45 minutes of previz, along with storyboards. We did tons of postviz. My director’s cut had no blue/green at all. It was all postviz for every shot.

Tim Miller and Linda Hamilton

DP Ken Seng, who did Deadpool with you, shot it. Talk about how you collaborated on the look.
We didn’t really have time to plan shot lists that much since we moved so much and packed so much into every day. A lot of it was just instinctive run-and-gun, as the shoot was pretty grueling. We shot in Madrid and [other parts of] Spain, which doubled for Mexico. Then we did studio work in Budapest. The script was in flux a lot, and Jim wrote a few scenes that came in late, and I was constantly re-writing and tweaking dialogue and adjusting to the locations because there’s the location you think you’ll get and then the one you actually get.

Where did you post?
All at Blur, my company where we did Deadpool. The edit bays weren’t big enough for this though, so we spilled over into another building next door. That became Terminator HQ with the main edit bay and several assistant bays, plus all the VFX and compositing post teams. Blur also helped out with postviz and previz.

Do you like the post process?
I love post! I was an animator and VFX guy first, so it’s very natural to me, and I had a lot of the same team from Deadpool, which was great.

Talk about editing with Julian Clarke who cut Deadpool. How did that work?
It was the same set up. He’d be back here in LA cutting while we shot. He’s so fast; he’d be just one day behind me — I’ve never met anyone who works as hard. Then after the shoot, we’d edit all day and then I’d deal with VFX reviews for hours.

Can you talk about how Adobe Creative Cloud helped the post and VFX teams achieve their creative and technical goals?
I’m a big fan, and that started back on Deadpool as David Fincher was working closely with Adobe to make Premiere something that could beat Avid. We’re good friends — we’re doing our animated Netflix show Love, Death & Robots together — and he was like, “Dude, you gotta use this tool,” so we used it on Deadpool. It was still a little rocky on that one, but overall it was a great experience, and we knew we’d use it on this one. Adobe really helped refine it and the workflow, and it was a huge leap.

What were the big editing challenges?
(Laughs) We just shot too much movie. We had many discussions about cutting one or more of the action scenes, but in the end, we just took out some of the action from all of them, instead of cutting a particular set piece. But it’s tricky cutting stuff and still making it seamless, especially in a very heavily choreographed sequence like the C-5.

VFX plays a big role. How many were there?
Over 2,500 — a huge amount. The VFX on this were so huge it became a bit of a problem, to be honest.

L-R: Writer Iain Blair and director Tim Miller

How did you work with VFX supervisor Eric Barba.
He did a great job and oversaw all the vendors, including ILM, who did most of them. We tried to have them do all the character-based stuff, to keep it in one place, but in the end, we also had Digital Domain, Method, Blur, UPP, Cantina, and some others. We also brought on Jeff White from ILM since it was more than Eric could handle.

Talk about the importance of sound and music.
Tom Holkenborg, who scored Deadpool, did another great job. We also reteamed with sound design and mixer Craig Henighan and we did the mix at Fox. They’re both crucial in a film like this, but I’m the first to admit music’s not my strength. Luckily, Julian Clarke is excellent with that and very focused. He worked hard at pulling it all together. I love sound design and we talked about all the spotting, and Julian managed a lot of that too for me because I was so busy with the VFX.

Where did you do the DI and how important is it to you?
It’s huge, and we did it at Company 3 with Tim Stipan, who did Deadpool. I like to do a lot of reframing, adding camera shake and so on. It has a subtle but important effect on the overall film.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.