WORKS ON DIGITAL PAPER

Accumulations

2009 was something of a paradigm shift year in my chosen profession. Changes had been afoot for some time, but the particular confluence of sudden mass economic downturn and long-brewing technological revolution brought wholesale deviation in the creative and remunerative process. The widely accepted old model, the one where clients sit in your room and pay handsomely for a carefully monitored kind of creative collaboration in cozy confines, has shifted to the seemingly widely accepted new model, the one where clients drop off a few firewire drives full of footage, email you a PDF of a print campaign and pay quite a bit less generously for a product of relatively unfettered creative volition. The trade off is obvious, painful and exhilarating. In the end, as a commercial editor, you get paid less for doing more with less, but the more can be the stuff of a creative editor's dream. This year I had work shown at Wembley Stadium, Collette in Paris, the Saatchi Gallery in London and in the Kenneth Cole windows of 5th Avenue in Manhattan. On more than a few occasions I was handed drives full of footage and asked to "make something." And I finally got to use some super powers for good.
It's been a productive year, that way.