IN THE BLINK OF AN EYE NEW EDN: New Edition

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I don't have a film background and after college got a job in video production--for companies, startups, etcs. W drugiej części (pisanej w roku 2006, mającej aktualizować cały wywód) jest już więcej treści, ale paradoksalnie mniej z tego wyniosłem, bo nadal jest to jednak wywód historyczny, o konflikcie między światem analogowym (taśma i maszyny do montażu) a cyfrowym (nośniki cyfrowe i komputery).

I originally bought this to learn about editing from one of the best which I did but my surprise was in that this book is also a powerful philosophical read on life! There's a bit he he has about how people watching films are like bees, there's a bit about how the relationship between a director and a editor should be like a dreamer and a dream reader, and bunch of different examples.As someone who edits videos, even of a much lower caliber than the material Murch works on, I found myself nodding along in recognition of what he revealed. The only part of the book that is unnecessary is the comparison of digital and film editing equipment, probably out of date even before the printing. With the older technology, it required you to sift through alot of material, and sometimes you would come across footage that was just what you needed - footage you may have discarded before.

The first stuff was right up my alley; Murch's personal editing philosophies and his technical trips and tricks were super helpful and he talks about them in my stupid language. Aparte de su conocimiento del montaje y de un sentido artístico audiovisual que podíamos dar por hecho, Murch tiene una sensibilidad literaria y una prosa envidiables. 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. 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. Walter Murch Talks the Subtleties of Editing Systems, the Myth of Shot Length, and Visual Sensitivity".I'm not sure I've met any editors who follow this advice, but then again I'm not working on feature films. The second half is about digital editing, and the first 10 pages or so of that are a little specific about technologies, and things I already knew about (e. S.’s finest decades of cinema, the 1970s, Walter Murch is part psychologist philosopher and part editor in this short treatise on film editing. 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.