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While this is more geared towards the editing concerns for larger productions with multi-month editing cycle, Murch has many insights into the basic practicalities of editing. By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. 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.

The second half is made up of Murch’s musings (circa 1999) about the advent of digital editing and what larger implications may exist for editors (and cinema as a whole) in a dominantly-digital landscape. Don’t necessarily operate on the elbow: instead, discover if nerves are being pinched somewhere else. I’ve been editing since I was 12 so it has certainly affirmed and validated for me a lot of the things I knew about editing on certain levels, but never have had explicitly stated.I'm not sure I've met any editors who follow this advice, but then again I'm not working on feature films. In The Blink Of An Eye: A Perspective On Film Editing was required for my going to film school, along with 15 other books (NONE OF WHICH WE READ BUT PAID FOR - INCLUDING THIS ONE OBVIOUSLY). The rest is just Murch going on and on with 'clever' analogies to explain what editing is to an audience that maybe never before thought about the fact that movies are edited at all.

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. held að það sé mikilvægt fyrir mig sem klippara að rekja sögu klipps frá byrjun og fá innsýn inní vinnubrögð fyrri tíma. The afterward looks at the move from film to digital media, looking at advantages and drawbacks, and detailing Murch’s own personal experience with the shift, a shift he had eagerly anticipated and partook in.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. There is tremendous power in cutting on blinks--and Murch points that we blink when we change the direction of where we are looking, which is similar to a cut in video editing. The only part of the book that is unnecessary is the comparison of digital and film editing equipment, probably out of date even before the printing.

Ele fala sobre: o porquê e o que motiva um “cut”; a experiência dele em edição de filme; a história da edição (transição do cinema analógico para o digital: pontos positivos e negativos). It's not a book on how to edit as in what quick keys you should use or how to diagram a scene to keep continuity. It was probably too early to really dig into that, and I’d recommend skipping it if you aren’t invested in that very specific time period of editing between 1990 and 2000. 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?If this book did anything for me, it helped me fall in love more with the art of editing, but I'm not sure if it gave me a lot of insight on how to be a better editor. 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.

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