I spent three days in a windowless edit suite back in ’04, staring at a hard drive full of mediocre shots from a documentary that had no business being made, trying to figure out how to find the story in footage that felt utterly lifeless. I didn’t have a fancy AI organizer or a high-speed…
I remember sitting in a windowless edit suite in South London, twelve hours into a shift, staring at a timeline that looked less like a story and more like a graveyard of expensive mistakes. I had shot on the best glass money could buy, but because I hadn’t thought about the coverage or the rhythm…
I spent three weeks on a documentary in the Hebrides once, shivering in a damp van, only to realize that the “perfect” sequence wasn’t hidden in some fancy plugin or a complex rhythmic montage technique. It was hidden in the way I’d failed to think about the space between the shots while I was still…
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