In the Blink of an Eye: A Perspective on Film Editing, 2nd Edition
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In the Blink of an Eye is celebrated film editor Walter Murch's vivid, multifaceted, thought -- provoking essay on film editing. Starting with what might be the most basic editing question -- Why do cuts work? -- Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. Along the way, he offers his unique insights on such subjects as continuity and discontinuity in editing, dreaming, and reality; criteria for a good cut; the blink of the eye as an emotional cue; digital editing; and much more. 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.
they are watching a movie. My hunch is that if an audience is really in the grip of a film, they are going to be thinking (and therefore blinking) with the rhythm of the film. There is a wonderful effect that you can produce if you shine infrared light directly out in line with the lens of a camera. All animal eyes (including human eyes) will bounce a portion of that light directly back into the camera, and you will see bright glowing dots where the eyes are: It is a version of the "red-eye"
about logistical support. Anthony Minghella had edited his two previous films conventionally, on film, and was concerned about making the change to digital. Not only was it unfamiliar territory for him, but several of his friends had recently had unfortunate experiences with electronic editing: There had been technical problems, and the electronic system itself seemed to encourage studio interference. So the decision was made to edit The English Patient directly on 35mm film, which was
Discontinuity is King: It is the central fact during the production phase of filmmaking, and almost all decisions are directly related to it in one way or another – how to overcome its difficulties and/or how to best take advantage of its strengths. (When Stanley Kubrick was directing The Shining, he wanted to shoot the film in continuiry and to have all sets and actors available all the time. He took over almost the entire studio at Elstree (London), built all the sets simultaneously, and
gap, and Apple has recently acquired Focal Point Systems, the developers of FilmLogic, so Apple seems intent on competing directly with Avid. It will be interesting to see Avid's response to these developments. The final product. The day will come when the editor is dealing with images of such resolution that they will be projectable in a theater. In effect, the output of the Avid will be the answer print. As I mentioned, this is already happening in television, and following Moore's Law
middle of the jungle, and a chimpanzee would be wrong writing this book. The point is not their intrinsic value, but rather the inadvisability of changing one's mind in the process of creating one of them. Don't start making a chimpanzee and then decide to turn it into a human being instead. That produces a stitched-together Frankenstein's monster, and we've all seen its equivalent in the theaters: Film "X" would have been a nice little movie, perfectly suited to its "environment," but in the