Storyboards and Editing

Enough treacly posts about holiday decorations. . . you're undoubtedly hoping for something a bit more stimulating. After all, treacly is in abundance during the holiday season, and my being seduced by its jingles and bows distracts from the task at hand which, as you undoubtedly know, is editing a short film.

I'd like to think that the editing thus far could be described as intuitive, but that would be erroneous, because I have pages upon pages of storyboards, notes, and (while often ignored by the powers that be in Hollywood) the script itself to reference as decisions are made about cuts and establishing shots. Thus far, all that neurotic referencing of past ideation has netted a rather relaxed editing atmosphere.

Thus far. . .

I've put up two pages from my stack of storyboards and you can click on them for a larger view. As a person who grew up with a love for both comics and films, I found the storyboarding process to be the simplest aspect in the project so far. Text and image in a linear narrative have a logical presentation, and that predictability allows for more energy to be put into the composition of each section (as well as ruminations about the symmetry of the whole).

However, I must confess that the planning stages would have been smoother if I'd had the good fortune to score some of the books Ariana and I gave Brandon for Christmas. . .

The Storyboard Book is a small chapbook with a frame at the top conveniently sized to match the golden ratio of digital film-making (16:9) set atop quad ruled paper. It is made by the good folks at www.thestoryboardbook.com and printed by Portland printshop darlings Pinball Publishing.

If I'd been armed with these instead of the bond paper versos of my script when storyboarding the film I'd now have three precious chapbooks to bequeath to the children I might someday have (instead of a bunch of loose paper crudely stapled together and shoved between reference books on the history of math).

More editing updates to come. . .

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