In the blink of an eye

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Translations of “in the blink of an eye”

Also Murch suggests that editing be done while standing up. I'm not sure I've met any editors who follow this advice, but then again I'm not working on feature films. 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.

Dec 26, Juliette Barasch rated it it was amazing Shelves: read-in , favorites. Such a beautiful book with so much critical insight. Essential reading for anyone interested in film in an analytical way. Jul 01, Shhhhh Ahhhhh rated it it was amazing Shelves: high-value. Pure gem in the rough. So, I have this idea, right? Here it goes.

The idea is that at the top levels of performance in different fields, people start seeing, saying and doing very similar things. The short version of the why is that we are all operating in the same reality and in order to operate with maximum possible functioning in response to that reality, you must have a fairly clear view of it, which leads people who have nothing to do with one another top athletes, scientists, film editors Pure gem in the rough.

The short version of the why is that we are all operating in the same reality and in order to operate with maximum possible functioning in response to that reality, you must have a fairly clear view of it, which leads people who have nothing to do with one another top athletes, scientists, film editors, writers, etc to come to startlingly similar conclusions despite radically different lived experiences. In this book, Walter Murch affirms this idea for me in a way that is wholly unexpected, and yet which resonates richly with me.

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in the blink of an eye

This book is nominally about editing film, as practice, as art, as science. However, along the way of explaining what makes for film editing greatness, Murch discusses ideas which can be found in other disciplines and pursuits. Film analogues of such ideas as combinatorial explosion math, statistics, epistemology , thin-slicing beh sci, beh econ , and grounded theory soc are found relatively early on in the book.

I'll include the quotes in this review for verification purposes. Combinatorial explosion: "But first I'd like to take a moment to emphasize the astronomical number of ways that images can be combined in a motion picture. This has always been the case, no matter what editing system is used: manual, mechanical, or electronic. If a scene is photographed with only two shots - one each from two different camera positions A and B, let's say -you can choose one or the other or a combination of both. However, once the number gets much larger than two shots-and a director might shoot twenty-five shots for an average scene-the number of possible combinations quickly becomes astronomical.

On linear film machines, like the KEM, you achieve ten times normal speed by reducing the amount of time that any one frame is seen by ninety percent. So a frame is on for V of a second, not V24 of a second. They achieve ten times normal speed at the cost of suppressing ninety percent of the information. So if you ask a digital machine to go ten times faster than normal, it will do so by showing you only one frame out of every ten. You are not seeing ninety percent of the film—whereas when you watch sprocketed film at high speed on a KEM or Steenbeck, you see everything.

You are only shown what you ask for. The Avid is faster at it than the Moviola, but the process is the same. There is a higher level that comes through recognition: You may not be able to articulate what you want, but you can recognize it when you see it.

IN THE BLINK OF AN EYE | meaning in the Cambridge English Dictionary

What do I mean by that? Well, if you learn to speak a foreign language, you will find that there is a gap between how well you can speak it and how well you can understand it when it is spoken to you. And when you make a film, you are trying to learn a foreign language—it just happens to be a unique language that is only spoken by this one film. The system is constantly presenting things for consideration, and a sort of dialogue takes place. Or this? For example, in detailing the differences between traditional hands-on film editing and digital editing, one of the differences Murch discusses is the posture.

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The traditional editing machines required standing to work and digital stations didn't, and Murch felt that that was an important enough distinction that he moved the components of his digital work station around to emulate the physical arrangement of a traditional editing machine. This resonates fairly strongly with what Austin Kleon is talking about in Steal Like An Artist, in terms of creativity and cognition being fully embodied.

Humans must use our hands and our senses to interact with the art we create first, then do the cleaning and digital stuff afterward. Murch also expounds on a link between blinking and thinking which was entirely novel to me. A blink being a psychological segmentation, marking the end of a thought or a thought-chunk and being a tool for marking individual comprehension and group comprehension in an audience. This is similar to Kahneman and Tsversky's work in measuring pupil dilation to tell whether people were still working on a problem.

I see a link there that seems well worth exploring for someone in that field. Murch also had a touch of almost.. For example the following quote, "A vast amount of preparation, really, to arrive at the innocuously brief moment of decisive action: the cut—the moment of transition from one shot to the next—something that, appropriately enough, should look almost self-evidently simple and effortless, if it is even noticed at all.

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Murch emphasizes order as being incredibly important to outcomes in a way that seems reminiscent of the theory of constraints body of work. Here's the quote for that "In the early stages of fetal development, it is difficult to tell the difference between human and chimp embryos. And yet, as they grow, they reach a point where differences become apparent, and from that point on, the differences become more and more obvious.

For instance, the choice of what comes first, the brain or the skull. In human beings, the priority is brain first, skull next, because the emphasis is on maximizing the size of the brain. Any time you look at a newborn human infant you can see that the skull is not yet fully closed around the top of the still-growing brain. With chimpanzees, the priority is reversed: skull first, then brain—probably for reasons that have to do with the harsher environment into which the chimp is born.

At any rate, it seems to be more important for a chimp to be born with a hard head than a big brain. This is a good book by someone who has clearly put much deliberation, time, and effort into their craft and into asking bigger questions than is strictly a requirement of their vocation.

SAM YAHEL (In The Blink Of An Eye)

I recommend this to anyone interesting in people in general. It's a good perspective on what it takes to be the man behind the curtain that everyone in Oz is to disregard. Apr 19, Alia Yunis rated it really liked it.

In the Blink of an Eye: Neural Responses Elicited to Viewing the Eye Blinks of Another Individual

Written by one of the great editors of one of the U. 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. As a teacher myself ov Written by one of the great editors of one of the U. How does an editor jump forward and backward in time and space to best tell a story?

At its most simplest, Murch says it is with the blink of an eye. But cut to what? There are nearly infinite possibilities to combine a series of shots. But he reminds us that the ideal cut should, in descending importance, take in the following: emotion, story, rhythm, eye trace, two dimensional plane of screen, and the three dimensional plane of screen.

The first three are obviously extremely connected. 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. He recommends working with stills taken from the film to make up the story first. The way the pictures collide together when mounted on the wall may lead to a new way of looking at things. Once you have your fist cut, he recommends looking again at the original footage—things have changed now and maybe there is something in the original footage that could really help you out now, time permitting.


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Test screenings are good for blind spots, but give the audience time to digest. Examine everything connected to the elbow to see where the real problem is. 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. So perhaps editors should consider themselves dream makers.

Jan 06, K. My dad found this book stashed away from back when he had to read it in college and said I might find it interesting. I'm no professional but I do enjoy the subject of video editing. There were bits of editing techniques that I thought were interesting and I want to try sometime. The last few chapters about blinking hence the title were especially enthralling.

It was a great look at how they edited back in the day. The best part was laughing at how much has changed in the industry since the 19 My dad found this book stashed away from back when he had to read it in college and said I might find it interesting. The best part was laughing at how much has changed in the industry since the 's. I found myself saying "little did he know This was a short, interesting read I'd recommend to anyone with any interest in the field of the movie industry. Apr 26, Kris rated it it was amazing Shelves: video-editing. The phrase "Renaissance Man" is bandied about a bit too loosely or negatively these days, but Walter Murch is a marvel as a craftsman and author.

He manages to break down what many perceive as a highly technical profession to a simple series of intuitive human responses. He also manages to give a quick survey of the state of editing technology and where it's headed. I highly recommend this book to anyone who edits, no matter the format or the context. Feb 08, Brian rated it it was amazing. I would not have the confidence to be an editor without this book. Walter Murch is a brilliant editor who has cut some of the best movies in the history of film and he thinks it all comes down to catching reactions and feeling the cuts based on actors processing information.

If that description does not make your cinematic mouth water, this book may not be for you but for my money it's a great tool of the trade. Jan 23, Billy Ram added it. A great insight into the process of editing films from a very well experienced artist. A must read if you are, in any way related to the artist side of filmmaking. A fast and simple read. May 07, gaminette rated it liked it Shelves: readin Jan 28, Spencer Jackson rated it it was amazing.

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