A raw look into current workflows, experiments, and creative collisions.

The goal of the edit is to reach a point where my curated selects serve as a muse to my storytelling flow, rather than just cluttered media. In my previous notes, I mentioned wanting to push tools to achieve specific body distortions and Dadaist-style character sounds. But once they're animated, what's next? How does it all come together instead of just being a showcase of random clips with music? This is where craft comes in.

Inside Premiere Pro is where the project comes to life and where I make sense of the nonsense. Generating clips is only a quarter of the process; this is where I go beyond 'the click.' Unfortunately, it’s a part of the workflow that many don’t get to witness in full detail, but it’s the exact stage in filmmaking where I get all my dopamine hits.

Iteration, taste, creative flow, and play are required. I often feel like a mad scientist doing this because of how often I’m switching thinking caps, but mostly I’m operating like a director/editor versus a technician. I’m far from a technician. You’d be surprised to find out that I don’t really know how to 'prompt.' I know how to describe what I want so that it perfectly matches a cut for the story. Those two things are entirely different.

One thing I didn’t mention in my video is how often I close my eyes when I edit. The audio (the gibberish and the jazz scats) needs to find their place of groove, too. It's hard to explain, but you’ll feel it. I’m looking for the pattern. Seeing how it fits and pushes scene.

This vide (part 2) is close to 50k views on IG. Part 3 dropped last night, bringing more complexity and a few more frames. The strange is being passed on from stranger to stranger. Why? We’ll never know! It’s ridiculous that way, and for me? Hilarious to see unfold.

A record of recent studio activity and forthcoming developments.

That’s all for today.

Don’t forget to grab some ABSRRD merch!

Sway 🫠