NOWHERE & EVERYTHING
Raven Pederzen
A self taught visual artist and photographer from salt lake city.
a delicate dance between presence and absence, i aim to capture ghosts of moments barely grasped. fixing these simple moments in time is a beautiful way to appreciate and understand the world that is often impossible while we are living through it. it is my supreme goal to weave together the fleeting and the familiar into photographs that capture the quiet poetry of memory—where time dissolves, emotions resurface, and the unseen lingers just beyond reach.
a delicate dance between presence and absence, i aim to capture ghosts of moments barely grasped. fixing these simple moments in time is a beautiful way to appreciate and understand the world that is often impossible while we are living through it. it is my supreme goal to weave together the fleeting and the familiar into photographs that capture the quiet poetry of memory—where time dissolves, emotions resurface, and the unseen lingers just beyond reach.
“ some nights my eyes graze across the roof, the wooden beams leading to, the concrete i rest my feet upon. the fire i set before me, the world after scarcely hinting it still existed. abysmal silence aside a gentle cackling of the wood. many nights my eyes fixed upon a wooden sky, there i was, my soul yet another kind of clay. i had no idea what gentle hands could shape this heart. how lovely it was to burn my days. ”
3 VS. THE WORLD:
HOW WE WON BEST EDITING & COLOR
there’s no telling how strange time feels when you begin filming deep into the night; 3:33 wasn’t just a script and a title, it was around the time we finished rolling the cameras.
that disturbing moment between dream and wakefulness was what we aimed to capture.
after 3 days of stressing about equipment, finding actors, planning out our shots, perfecting the script: the clock struck midnight.
our crew was able to bring in all of the equipment at the shoot location within the hour and execute the vision we had for this film.
in a way, the set became it’s own world.
shooting three thirty three meant stepping into that hour- experiencing the unsettling progression of the night, questioning if creativity and exhaustion had begun to blur, feeling the atmosphere itself change with each reset of a shot.
3:33 wasn’t meant to just be another short film, we wanted to experiment, to let the atmosphere guide us, to put onto a screen what it feels like to be stuck between 2 worlds.
Looking back, it was all simple, really.
Raven showed us a flyer for
Salt Lake Film Club’s “REFRAME”
Short Film Contest.
Start date?
Today.
Mikael immediately started writing. What kind of script? Something revolutionary? Jaw-dropping?
No.
Simple.
That was the answer.
Within three days—and a few phone calls to Noah (Caleb)—we had a short and simple script titled 3:33. Now, we just needed actors.
The script was written with “Character 1, Character 2” — no defining looks, no assigned attributes. Time was of the essence, and beggars couldn’t be choosers.
Casting calls went out, interest came in, but schedules? A NIGHTMARE.
Then—boom. Actors locked in, lighting & camera gear ready.
We were shooting at midnight.
Morning check-in: Crew is alive and ready. Our last two actors?
Radio silence.
Perfect.
Mikael shrugs, “If they don’t show, I’ll rewrite it. We’re not turning back.”
Then, like a miracle,
* BING *
Jessica (Lucia) texts:
“Is the role still open?”
“HELL YEAH IT IS. Call time is midnight. Can you make it?”
Jessica:
“Yeah, I’ll be there! Also, can I bring a friend? He does a little makeup.”
(He (Hayden) did a lot more than 'a little' makeup)
Us: “ABSOLUTELY.”
So there we were, watching the clock crawl toward midnight, waiting to kick everyone out and start setting up. Maybe you’re thinking, “No way, you need at least a 10-man crew to make a short film.”
In retrospect?
Probably.
But we didn’t have that luxury.
We had gear. We had actors. But there was still a big question mark hanging over our heads:
Could we pull it all together?
Equipment List:
- Canon C70
- Lens Adapter
- Leica R Lenses (24-70mm & 90mm)
- Pro-Mist Filter (1/8 - 1/4)
- Sennheiser Lavs
- LS 600c
- 3-4x4 Muslin/Diffusion/Opal
- C-Stands with 40” Extensions
Cameras rolled at 12:48 AM.
Thankfully, Mikael had the most highly detailed storyboard the world had ever seen.
(Okay, maybe not. But it worked.)
Sleep? Never heard of it. Mikael, Easton, and Raven powered through setups and teardowns, locked in. 3:06 AM, we wrapped. By 3:39 AM, the set was cleared. Done.
Or were we?
We still needed our finale. Another actor was missing. Mikael, already running on fumes, said, “If we can’t find someone, I’ll make it work.”
Then—BUZZ BUZZ BUZZ.
Noah calls:
“I have a friend that can do it.”
Perfect.
Can we shut down the same coffee shop mid-day to get our final shots?
Absolutely not.
Perfect.
We’ll make it work.
Ambient noise? No lights? No set up? Customers walking into shots? Awesome.
But we got it done. Mikael called the shoot a wrap. He and Easton dumped 110GB of footage into Premiere Pro.
(Mikael, bro… DaVinci is free.)
Then, reality hit. (Easton had filmed absolutely beautiful shots & now here comes Mikael making them look disgusting, completely diving into the idea of someone losing touch with reality) He had built an insane momentum in the edit, and now he had to carry it all the way through.
For the next week, that’s exactly what he did. Long days, Longer nights. The timeline?
Diabolical.
Send help.
Raven then cooks up possibly the greatest movie poster we’ve ever seen, and for our first short film??
INSANE.
(We knew we had to commemorate this—so OBVIOUSLY we had to make a crewneck with the flyer printed on the back, DUH!)
Now the pressures really on.
Now the question is; Can we make something that can live up to the movie poster???
Deadline Night: 11:10 PM.
We hit upload.
We sat there, for the next 3 days holding our breath, thinking...
“Did we even do anything?”
Every other film had full production crews, dedicated roles.
What the hell were we doing there?
We thought there’d be other small teams, maybe some entry level student projects—
No.
But there we were.
A small team with a BIG dream.
We want to thank everyone that made this possible, being able to even show up was an honor in itself.
Easton Parkhurst
Raven Pederzen
Noah Martinez
Jessica Hullinger
Hayden Mikami
Lizzy Nelson
THANK YOU.
Standing there, surrounded by so much talent, we had no idea what to expect.
We watched some amazing films that night, so when they announced
“Best Color & Editing - Three Thirty Three”
It hit hard.
— we were stunned.
What. The. Fuck.
We’re beyond grateful for this experience.
Genuinely.
Join us LIVE on 03-03-25 @ 7:15PM MST
WATCH THE FULL VIDEO HERE