IN THE BLINK OF AN EYE NEW EDN: New Edition

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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. 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.

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. Now, 20 years on in my profession, and well past the instructional stuff, someone on one of my social media groups quoted from the book, and it piqued my interest.While one can never doubt his credentials to teach (he edited Copolla's Apocalypse Now, in which production probably produced the most footages in film history for an editor to work on. The way the pictures collide together when mounted on the wall may lead to a new way of looking at things. 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).

Once you finish the book you'll start noticing the decision making in the offline editing, in abundance many great films. Describes a book or dust jacket that does show some signs of wear on either the binding, dust jacket or pages. Used books have different signs of use and might not include supplemental materials such as CDs, Dvds, Access Codes, charts or any other extra material. 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.Most of what we experience visually from the moment we get up is a continous stream of linked images. 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. Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film.