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■ EDITING WORKFLOW
Even as you read this book, there is a certain amount of change that has taken
place from its original form. We started with an outline; then I went about writing it
according to the outline. This final form in your hands bears little resemblance to the
outline. That’s creativity at work.
So you start with a simple skeletal concept. In some cases, it is a storyboard or
an animatic, or something that brings the idea forward to the editing suite. Then in the
process of editing, you bring it to fruition.
There are some dangers here. If you throw out the initial backbone or ideal, you
can get lost. Without some form of idea of what you’re going to do, the work can atro-
phy quickly.
Let’s say, for example, that you go to an air show. You shoot a lot of video, but
you don’t really have an idea of what you’re going to do with it. If you don’t come up
with a framework for this project before the edit, it turns into a slide show. Mayhem
ensues. You edit a picture of a Sopwith Camel and then dissolve to an F-14. It makes
no sense.
Figure 1.8 Rodin didn’t invent progressive creativity.
Everything,especially nature, has a first draft.
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