An outline is a proposal
A written sequence can make a story sound clear before any footage is available. It can also hide problems: a planned reaction might not exist in the generated shots, or a sentence might take longer to understand than the scene allows. A convincing outline is a starting point for editorial judgement, not proof that the edit works.
The footage changes the decision
A character’s expression, the length of a pause and the relationship between shots are visible and audible qualities. A description of those qualities cannot fully replace experiencing them. The final edit has to work with the material the creator actually has.
Judge the role before choosing the tool
For an assistant used in planning, useful questions concern the clarity of its suggestions and how well it responds to constraints. For an editing application, the questions concern control over the footage and the finished export. Treating these as separate roles helps avoid expecting one tool to solve every part of production.
Keep the creative decision connected
MORPH brings scripting, character production and the final edit into one practice project. The course is for building the creative workflow around the tools. Its current programme is the place to check what the lessons cover.
