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That's only when he's not nagging on about the fact that he likes to put his KEM on an elevated surface, because he prefers to edit while standing up. Once you finish the book you'll start noticing the decision making in the offline editing, in abundance many great films.

We are told to bear in mind that seeing a film on a big screen is more immersive than seeing it on a two foot wide screen, and more detail will be seen in a big picture; at the same time, readily available screen time means that people can watch a film over and again, seeing new nuances and character aspects. p. 55 So, instead of fixing the scene itself, you might clarify some exposition that happens five minutes earlier. Margt af því sem Murch bendir á varðandi möguleg vandamál við klipp í stafræna heiminum vs analog er eitthvað sem ég get tengt við og lært af. I'm not sure I've met any editors who follow this advice, but then again I'm not working on feature films.

g. Edit Decision Lists), but it gets really good again contemplating what we lose when we take an enormous leap forward with technology. Mitch applies real world psychology and science to delve into the history of editing processes and the theory behind why it works. 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). Much of the book references experiences Murch had editing The English Patient, Apocalypse Now, and The Godfather. when it’s the original text, gets really tedious once it discusses the transition from analog to digital editing during the addendum.

Because you want to do only what is necessary to engage the imagination of the audience—suggestion is always more effective than exposition. Along the way, he offers his insights on such subjects as continuity and discontinuity in editing, dreaming, and real life; the criteria of a good cut; and the blink of an eye as both an analog to and an emotional cue for the cut. yıl önceki ön görüler şu an gerçek oldu ve aynen yazarın aklındaki soru işaretleri günümüzde de oluştu.En el contenido original del libro, escrito a comienzos de los 90, el lector descubre el oficio del montaje, su historia y su razón de ser ¿por qué el corte de un plano a otro funciona para el espectador, en vez de simplemente provocar confusión?

The first half is about the art of editing itself (and more old-style/analog editing), distilling several days worth of raw footage into a final product lasting only few hours. I went with Directing anyway because I'm an idiot and my school was made up of idiots too because when I asked to double major, focusing in Directing and minoring in Editing, they said I would have NO time for that. This book was perhaps relevant when it came out, 20+ years ago, and then immediately became outdated. Focus on the emotion you seek, how to advance the story, and to cut just before, at, or after the viewer's blink of recognition or understanding, depending on the story you are telling.A bad actor can often be spotted by the strange rhythmn of their blinking - it doesn't seem to be matching the emotional landscape of the story. If you're interested though, I'd recommend The Conversations: Walter Murch and the Art of Editing Film by Michael Ondaatje.

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