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While its talk of digital editing’s technological limitations is obviously quite dated, his points about the fundamental differences between workflows for digital and analog editing were still relatable to me and are definitely good food for thought. This book was perhaps relevant when it came out, 20+ years ago, and then immediately became outdated. Discover the joy of reading with us, your trusted source for affordable books that do not compromise on quality. 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.

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. 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. The first half of the book is sensational, and explores a lot of theory behind editing, which is great for any filmmakers. 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.I think I was looking for some more practical tips and tricks for editing, but I'm glad I read this and learned about the history of linear editing. His handling of the topic is simultaneously familiar and original, and always it is full of insight.

he treats the reader to a marvelous ‘ride’ through the esthetics and practical concerns of cutting film.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. 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. To be clear: Murch is no luddite, he made the choice to switch for reasons he weighed very carefully. 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. 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.

I have read a lot of books in my time and Walter Murch's 'In the blink of an eye' is easily one of the best of those! I don't have a film background and after college got a job in video production--for companies, startups, etcs.But not only are cuts a pragmatic tool for the filmmaker, they can actually enhance the experience - be a preferred tool of choice. 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. S.’s finest decades of cinema, the 1970s, Walter Murch is part psychologist philosopher and part editor in this short treatise on film editing.

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