At any rate, it seems to be more important for a chimp to be born with a hard head than a big brain. This is a good book by someone who has clearly put much deliberation, time, and effort into their craft and into asking bigger questions than is strictly a requirement of their vocation. I recommend this to anyone interesting in people in general.
It's a good perspective on what it takes to be the man behind the curtain that everyone in Oz is to disregard. Apr 19, Alia Yunis rated it really liked it. Written by one of the great editors of one of the U. Written before the digital age, it talks to students about the aesthetics and psychology of editing, rather than which key on your keyboard to press, which seems to dominate so much of the education surrounding editing today, with the technology overtaking the storytelling aspect.
As a teacher myself ov Written by one of the great editors of one of the U. How does an editor jump forward and backward in time and space to best tell a story? At its most simplest, Murch says it is with the blink of an eye. But cut to what? There are nearly infinite possibilities to combine a series of shots.
But he reminds us that the ideal cut should, in descending importance, take in the following: emotion, story, rhythm, eye trace, two dimensional plane of screen, and the three dimensional plane of screen. The first three are obviously extremely connected.
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He also talks about the importance of letting go of the filming once we get into the editing room, so that our choices are not determined by how hard certain shots were to get but rather decide based on what shots best serve the story. He recommends working with stills taken from the film to make up the story first. The way the pictures collide together when mounted on the wall may lead to a new way of looking at things. Once you have your fist cut, he recommends looking again at the original footage—things have changed now and maybe there is something in the original footage that could really help you out now, time permitting.
Test screenings are good for blind spots, but give the audience time to digest. Examine everything connected to the elbow to see where the real problem is. The only part of the book that is unnecessary is the comparison of digital and film editing equipment, probably out of date even before the printing. So perhaps editors should consider themselves dream makers.
Jan 06, K. My dad found this book stashed away from back when he had to read it in college and said I might find it interesting. I'm no professional but I do enjoy the subject of video editing. There were bits of editing techniques that I thought were interesting and I want to try sometime. The last few chapters about blinking hence the title were especially enthralling.
It was a great look at how they edited back in the day. The best part was laughing at how much has changed in the industry since the 19 My dad found this book stashed away from back when he had to read it in college and said I might find it interesting. The best part was laughing at how much has changed in the industry since the 's. I found myself saying "little did he know This was a short, interesting read I'd recommend to anyone with any interest in the field of the movie industry.
Apr 26, Kris rated it it was amazing Shelves: video-editing.
The phrase "Renaissance Man" is bandied about a bit too loosely or negatively these days, but Walter Murch is a marvel as a craftsman and author. He manages to break down what many perceive as a highly technical profession to a simple series of intuitive human responses. He also manages to give a quick survey of the state of editing technology and where it's headed.
I highly recommend this book to anyone who edits, no matter the format or the context. Feb 08, Brian rated it it was amazing. I would not have the confidence to be an editor without this book. Walter Murch is a brilliant editor who has cut some of the best movies in the history of film and he thinks it all comes down to catching reactions and feeling the cuts based on actors processing information.
If that description does not make your cinematic mouth water, this book may not be for you but for my money it's a great tool of the trade. Jan 23, Billy Ram added it. A great insight into the process of editing films from a very well experienced artist. A must read if you are, in any way related to the artist side of filmmaking.
A fast and simple read. May 07, gaminette rated it liked it Shelves: readin Jan 28, Spencer Jackson rated it it was amazing. Makes you rethink the whole concept of video editing. Great read. Sep 11, Rui rated it really liked it.
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A great book to start with editing. Past a c A great book to start with editing. Jul 13, Lucas rated it really liked it. Very short- more detailed stories from experiences on any or all of the movies Murch edited would have been nice to extend the length. 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.
The old film editing machines are also praised for their ability to play back film at high speed without r Very short- more detailed stories from experiences on any or all of the movies Murch edited would have been nice to extend the length. The old film editing machines are also praised for their ability to play back film at high speed without removing frames which allows the human eye to see all of the motion however blurred , while a computer program likely fast forwards by a factor of 10 by not showing 9 out of 10 frames or even worse. But with modern technology and high refresh rate monitors it would be nice to correct this, and have at least all 10 frames blurred together instead of skipping anything.
In the Blink of an Eye (book) - Wikipedia
Do any of the major editors already do this? The 'theory' of editing is interesting: reality is continuous but edited movies aren't, why aren't edits more jarring? Blinks and fast eye motion if you move your eyes from one object to another and don't focus on anything between as you do it it is perceptually equivalent to a hard cut from a view of the first thing to a view of the second are nice explanations.
The analogy to thought is also fine: you can imagine one visual thing then quickly imagine another without having to provide a smooth transition in your head. The other obvious explanation that isn't mentioned but is sort of related to thought is memory- you edit out unmemorable things- and then memory is related to storytelling you edit out things that you think don't help the story, modelling the mental state of the audience , and movies are stories, and it isn't mysterious at all.
Feb 16, Tally, The Chatty Introvert rated it liked it. 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. This book is great for giving you a very basic history of film editing, and some real-world examples of difficulties in editing movies, the different types of technology in use, etc.
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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. 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 details regarding equipment and techniques that are no longer in vogue can teach you a lot.
I heard Werner Herzog talking about this editor and this book and had to snatch it up. Worth a read if you want to be a filmmaker; it gives you a good idea of how to be a successful film editor and have their eyes to make a great film work. Aug 13, Zack rated it it was amazing.
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. 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.
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 mechanistic means. The insight that he has to give any film editor, writer, director, or even film viewer is simply incredible. Definitely a must-read book for film theorists, practitioners, and fans. Feb 17, Omar Manjouneh rated it really liked it Shelves: film-making. There are people who have the power of informative knowledge, and people who have the power of stimulating your brain cells to reach far beyond knowledge, Walter Murch just happened to have both.
The book itself is taking the structure of a perfect-edited movie with a point of attack striking you from chapter 1 increasing gradually till it plateaus with a startling climax point, then takes you slowly to a conclusion that leaves you with a touch of enlightenment. We edit films as we blink in life There are people who have the power of informative knowledge, and people who have the power of stimulating your brain cells to reach far beyond knowledge, Walter Murch just happened to have both. 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.
It's a book about editing, but you'll also find out what happens to a beehive, if you keep moving it a little at night. So, it's good! Also I'm a liar, because really it's about filmmaking. Which means it's about making. So if you ever made anything It's short and beautifully written. By the guy who somehow had to make Apocalypse Now into a movie. Apparently you can identify a bad actor by when he blinks. I thought a lot about blinking while reading this.