IN THE BLINK OF AN EYE NEW EDN: New Edition

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By using the Web site, you confirm that you have read, understood, and agreed to be bound by the Terms and Conditions. My first instincts about the book were correct: this is about the theory of editing: what a cut is, what it does, how it works, why it works. I don't have a film background and after college got a job in video production--for companies, startups, etcs.

A cualquiera que disfrute del cine le encantará esta aproximación a la que es, como señala en el libro, la única disciplina exclusivamente cinematográfica. This tells how an editor makes choices and cuts film - originally a physical cut - and how machines used to be large, noisy and heavy but have moved to be computers.While Murch makes pains to clarify that these are just his opinions rather than objective truth, the intellectual perspective those opinions provide is tremendously valuable.

You may not always succeed, but attempt to produce the greatest effect in the viewer’s mind by the least number of things on screen.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. Going in to detail about when and why we blink he takes this and talks about when to cut and how blinking so important. And I'm so glad I did, this is really insightful and written by one of the great editors of our time! Murch treats the reader to a wonderful ride through the aesthetics and practical concerns of cutting film. 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.

Most of what we experience visually from the moment we get up is a continous stream of linked images. The way the pictures collide together when mounted on the wall may lead to a new way of looking at things.What I like about Murch's thinking, as highlighted both in this and "The Conversations," is that he's as much a philosopher as he is a theoretician and many of the principles and ideas that he discusses are equally applicable in any other art form.