Even better are the bits where he delves further, into the theoretical underpinnings of what a cut is, and why they work at all given the unfamiliarity of jump cuts in day to day life so one would think. Required Reading In The Blink of an Eye Is an absolute Must Read for any editor who wants to be a cut above. Quizás suene un poco raro pero mientras vas leyendo comprendes lo lógico que es y realmente funciona. Do any of the major editors already do this? It's something everyone involved in film production should read but especially editors. People have always told me that this is an essential read for filmmakers in general, not just editors.
The more compact In The Blink of An Eye reads almost like a precis of Murch's ideas raised in the more loosely structured Conversations. We can't speak for certain third parties like Google's advertising. Murch considers how a cut actually works in film, as the human eye experiences nothing like it in everyday life: everything to a human is a continuous shot. A nice companion to other film theory books. Pearlman in other videos on Timing and Non Visible Rhythms. A great book to start with editing.
I think I was looking for some more practical tips and tricks for editing, but I'm glad I read this and learned about the history of linear editing. In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing which accounts for a third of the book's pages in light of the technological changes that have taken place in the six years since its publication. Built around the concept that the blink is related to acting and editing. As a result, you have at least four ways of using these two images: A, B, A+B, and B+A. Murch clearly thinks deeply about his practice of film editing, from both the technical and artistic perspectives, and so this glimpse into his working thoughts and process quickly becomes a sort of phenomenological account of the work of the body creating art as expressed through In this book's forward, Francis Ford Coppola identifies Walter Murch as a man with feet planted in both the realm of film practice and film theory, and this is borne out fantastically throughout the text of this book. We edit films as we blink in life, and neither editing nor blinking is ever the same as it used to be after you finish reading this book. Unfortunately, too much of the book is used to consider the pluses of continuing to work with mechanical editors and film as opposed to working with the earlier versions of editing software.
You'll have access to personalize your news feed, access to Live Post Talks and much more. I see a link there that seems well worth exploring for someone in that field. Very short- more detailed stories from experiences on any or all of the movies Murch edited would have been nice to extend the length. It is a small book and a quick read. Suggestion is more effective than exposition. That is, because they have so much material to sort through—and so many decisions to consider—they often tend to get caught up in building the scene, and forget to sit back and really watch. Murch is a legend in the industry whose artistic brilliance shaped such epic works as Apocalypse Now, The Godfather and The English Patient.
Please check your spam for the email if you do not receive it in your inbox! It's not too technical a book, and does have an expansive section on digital film editing now that that's the primary method , but even detail I've read about Walter Murch before, and just refreshed my memory of some of the things he talks about in this book by watching Apocalypse Now and it's documentaries again. There are concepts that Mr. But in a way, the title of the book kind of says it all. Somehow this book got by me. Starting with what might be the most basic editing question -- Why do cuts work? Your registration has been successfully submitted, you will receive an email with your account details. Contribute to the community by posting interesting post production content.
Past a certain point, the more effort you put into wealth of detail, the more you encourage the audience to become spectators rather than participants. One of the things I found most interesting is that Murch says its not obvious that film cuts should work as well as they do. I'll include the quotes in this review for verification purposes. It was a great look at how they edited back in the day. If you're interested though, I'd recommend The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje. So, I have this idea, right? In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought-provoking essay on film editing.
Lo recomiendo si: -Te gusta la edición. The book is short and can be read quickly, but even a quick tour of Murch's editing philosophy is worthwhile. In a way, I've looked at these books the wrong way round. Most of what we experience visually from the moment we get up is a continous stream of linked images. Once established, the space should not change.
If the rhythm is there, the audience will become unaware or unconcerned of lapses in continuity or the 180-degree rule. There were bits of editing techniques that I thought were interesting and I want to try sometime. Again, this is a great philosophical read, and is something I feel like I will be quoting for years to come. I liked hearing about the manual film editing machines- the stand-up machine with foot pedals and wheels sounds nice, it would be interesting to have a work station for computer based work that could be operated with both hands and feet for various purposes. Yes, a book on film editing, it's about storytelling. The short version of the why is that we are all operating in the same reality and in order to operate with maximum possible functioning in response to that reality, you must have a fairly clear view of it, which leads people who have nothing to do with one another top athletes, scientists, film editors Pure gem in the rough. Standing, physical connections to the machines, the change in the machines and the experiences of using them in the advent of the digital age.
In this second edition, Murch reconsiders and completely revises his popular first edition's lengthy meditation on digital editing which accounts for a third of the book's pages in light of the technological changes that have taken place in the six years since its publication. In this book, Walter Murch affirms this idea for me in a way that is wholly unexpected, and yet which resonates richly with me. The section on what makes a good cut is enormously helpful to budding editors and film buffs alike: the six steps that Murch adheres to is a great help to a film student, and they will definitely be kept in mind for the next edit undertaken. There is tremendous power in This book is really helpful in understanding the history and culture around video editing. Murch goes into that will reveal secrets about human nature itself. And, over half the length of the book is an Afterword, added in 2001, concerning the new advances in digital editing, of course now 13 years out of date, ie essentially a lifetime. He also manages to give a quick survey of the state of editing technology and where it's headed.
Murch has a chapter on all the new software out on editing film and he is still a bit skeptical it can deliver on all its claims. I would not have the confidence to be an editor without this book. أما النصف الأول الخاص بفن المونتاج فهو رائع ومُهم لكل سينمائي. In the Blink of an Eye goes deeply into the artistic process as well as view into the tools used by Hollywood film editors. So if you ask a digital machine to go ten times faster than normal, it will do so by showing you only one frame out of every ten. So, in short, this list gives priority to the subjective over the objective—that is, it challenges the editor to weigh things like emotion and story significantly more than 2D and 3D spacial considerations. Because the students have so much to do technically in constructing the scene, they sometimes fail to see the forest for the trees on the first pass.