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At any rate, I believe "filmic" juxtapositions are taking place in the real world not only when we dream but also when we are awake. What Ansel Adams did for me in terms of photography, what Vincent Baker did for me in terms of game design, what Barry Hampe did for me in approaching documentary work, and what Robert McKee did for me in thinking about western stories, Walter Murch has done for m in film and editing. If In the Blink of an Eye was to be distilled to its essence, the 'original ideas' would take no more space than one and a half pages.

A cualquiera que disfrute del cine le encantará esta aproximación a la que es, como señala en el libro, la única disciplina exclusivamente cinematográfica.As a teacher myself overwhelmed with the ever changing technology, I sometimes get so involved in explaining the technical aspects of Final Cut Pro that I don’t spend enough time with the real question of editing “Where do you make a cut—or do you even need to make a cut? Suggested my students read this book as a way to understand not only the history of film editing but how it has evolved into the current non-linear mode of post-production. Murch has taken years of experience in the film industry and poured them into this work of theory and art. when it’s the original text, gets really tedious once it discusses the transition from analog to digital editing during the addendum. The first half of the book is sensational, and explores a lot of theory behind editing, which is great for any filmmakers.

Murch approach is more of the zen type, teaching that editing is more like a dance, and an art, than a science, and how you can learn from that. p. 62-63 So we entertain an idea, or a linked sequence of ideas, and we blink to separate and punctuate that idea from what follows. 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.

Still, it's converted pretty directly from a lecture he delivered, which keeps the material a little close to the surface for my liking -- I should really keep reading this Peter Wollen film theory book I found at the Strand for the denser, deeper conceptual stuff, or more Ruiz perhaps.

It's a quick read, probably only a few hours from front to back, so there's really no reason at all not to pick it up and read it. Covers a great amount of theory and psychology of editing, as well as talking about the history of the editing, and comparing the two in a really understandable way for anyone to grasp the idea of the differences of today's and the past's editing.

Don’t necessarily operate on the elbow: instead, discover if nerves are being pinched somewhere else. The actual core of the book is filled with great philosophy around editing, and honestly even lends its ideas to other facets of life and thought.

Sem kvikmyndanemi og klippari fannst mér hann ná að draga upp marga góða punkta og opnaði augun mín fyrir allskonar nytsamlegum hugmyndum og pælingum til að hafa í huga þegar maður er kominn við klippiborðið.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. Much not only explains the art of editing and his approach to it but he also looks into real life and tells stories. The 103 third parties who use cookies on this service do so for their purposes of displaying and measuring personalized ads, generating audience insights, and developing and improving products. Walter Murch Talks the Subtleties of Editing Systems, the Myth of Shot Length, and Visual Sensitivity". 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.

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