This post was written by Michelle Gallina and originally appeared on the Adobe blog on January 10, 2025.In addition to showcasing Eno’s rich archive of hundreds of hours of never-before-seen footage and unreleased music, director Gary Hustwit and creative technologist Brendan Dawes developed bespoke generative software that sequences a human-coded mixture of scenes, music, and interviews to create a film that is never the same twice.As the first-ever “generative” film, Tippett and McDonald relied on Adobe Premiere Pro and After Effects to manage Eno’s technical complexity. They had to put aside everything they knew about telling a linear story and learn how to edit in a more module-based, systematic way, relying on features like Speech to Text to weed through archival interviews. Premiere Pro’s customizability also allowed them to channel an “Eno-esque artistic freedom to have fun with the material,” said McDonald.We sat down with both Eno editors for an inside look at the making of this innovative film.How and where did you first learn to edit?Tippet: I first learned to edit in camera on a VHS point-and-shoot when I was 12. That’s where the concept of intentionally “cutting” and creating a montage to tell a story clicked for me. It was a tactile way of learning to make movies because I could immediately learn by watching what I had just done in the camera's playback. Later, I turned to the computer, started editing in iMovie, and made many terrible films with my friends while growing up. I always got...
Published By: NoFilmSchool - Yesterday