ABSTRACT
Nonlinear is nothing new. Hollywood was doing it almost a century ago, long before computers existed. When you’re cutting film, you can add or delete shots in whatever order you prefer. The rest of the movie will ripple1 automatically. Movies are random-access as well: when you’re working on a scene, you first hang all the selected shots in a trim bin, a large cloth-lined barrel with tiny hooks suspended across the top. Then you grab whichever ones seem appropriate, try them in different orders, and generally juggle until you’re happy.
