My name is [Name] and I’m a video editor. I love what I do and I have been doing it for a long time. I have edited videos for many different projects and I wanted to share my knowledge with the world through this blog. In this blog, you will learn how to edit videos like a pro! My goal is to help people who are new to editing or want to improve their skills.
The main focus of this blog is on video editing techniques that can be used in any type of project. The topics covered include: How to choose an editing software What kind of computer do you need? How much does it cost? What kind of camera do you need? What kind of microphone should you use? How do you record sound properly? What are some tips for shooting your own footage?
In addition, there are sections about color grading, audio mixing and more advanced topics like visual effects. The blog also includes interviews with professional editors who share their thoughts on various aspects of their craft.
I hope that by sharing my knowledge and experience, others will find value in the content here too! Feel free to reach out if there’s anything else I can answer or if there’s anything else you’d like me to cover.
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This is a nice little book on film editing. Walter Murch has edited many films, Apocalypse Now, The Godfather Part II, and The Conversation. He writes about his editing process and somewhat the history of cutting films. One of the things I found most interesting is that Murch says its not obvious that film cuts should work as well as they do. Most of what we experience visually from the moment we get up is a continous stream of linked images. The “cut” would seem to go against and one would think would be more jarring. But not only are cuts a pragmatic tool for the filmmaker, they can actually enhance the experience – be a preferred tool of choice. The only thing we experience like it are dreams, and Murch surmises this is where the link is established. We can say to a young scared child, it was only a dream. Likewise, we do this with scary movies as well: it’s only a movie.
Another interesting aspect of the book was his emphasis on paying attention to when actors blink. A good actor’s blinks will in some way be tied to his/her thoughts and emotions. Murch noticed at some point in his career with Gene Hackman, that where Hackman blinked was often a good place to cut a sequence (just before the blink). A bad actor can often be spotted by the strange rhythmn of their blinking – it doesn’t seem to be matching the emotional landscape of the story. They may be nervous or pre-occupied.
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. With the older technology, it required you to sift through alot of material, and sometimes you would come across footage that was just what you needed – footage you may have discarded before. He thinks the new technology will probably,in time, bridge the advantages of new and old. But as of his writing, he still felt the older editing machines were better.
It is a small book and a quick read. Well written. It’s fun to come across a master of his field who writes so well about his craft.
Wish this existed on kindle, as I would’ve highlighted a ton instead of dog-ear-ing basically every single page. I thought it was fantastic, and not exclusively for those interested in filmmaking. 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. Not all the ideas are his own, he credits John Huston with the titular theory that eye blinking is basically defining “clips” of footage in our brains, but it’s laid out well (transcribed from a lecture), and there are many anecdotes that could apply to a wide range of other disciplines, e.g. collaboration/teamwork.
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.g. Edit Decision Lists), but it gets really good again contemplating what we lose when we take an enormous leap forward with technology. To be clear: Murch is no luddite, he made the choice to switch for reasons he weighed very carefully. He’s the optimal subject for any UX professional. It’s a quick read, and I plan to come back and re-read in a few years, hopefully digitally.
Well written and this is the second edition, although as the author knew would happen, film production has moved on fast.
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.
We are told to bear in mind that seeing a film on a big screen is more immersive than seeing it on a two foot wide screen, and more detail will be seen in a big picture; at the same time, readily available screen time means that people can watch a film over and again, seeing new nuances and character aspects.
This is very interesting for those studying how the mechanics of film making have changed. Analogue to digital. Speed is important in a big budget film. Apparently a question asked when hiring an editor is ‘how fast do they work?’
However, some things won’t change, such as an orderly process for film editing, backing up copies, choosing a good cut. The author points out that people watching something intently don’t blink, but people changing their mind, submitting, or holding conflicting thoughts, blink rapidly. We can blink as we move our line of sight, seeing a different picture as the eye opens. He suggests that we accepted film right from the start because it was like blinking.
I borrowed this book from the Dublin Business School Library. This is an unbiased review.
Not quite on par with “The Conversations,” the book of interviews between Murch and Michael Ondaatje, but an absolutely stellar and essential read for anyone interested in film on a more than superficial level. It’s a quick read, probably only a few hours from front to back, so there’s really no reason at all not to pick it up and read it. 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. It’s really an absolute joy to read his thoughts.
If you are looking for techniques and tricks to edit film, you are looking in the wrong place. I bought this book expecting exactly that, but even when none of it came, it was a great experience, and I learned a LOT.
Mr. Murch approach is more of the zen type, teaching that editing is more like a dance, and an art, than a science, and how you can learn from that. The last part of the book is a bit obsolete, since is a overview of the then emerging digital editing process, but it only shows the accurated of Mr. Murch views, I guess I’ll revisit this book again when I’m starting to apply his view in my work in a couple months.
Helped to know that being an editing nerd/theorist could also end up prolific. Personally just lovely.
In the Blink of an Eye first came out about the time I was teaching myself to shoot and edit video, and I was looking for all kinds of books to help me along with that education. I remember looking at the book in my local bookstore and passing on it because it seemed less instructional than theoretical. 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. So I got myself a copy.
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 have the 2nd edition, which came out in 2001, revised to include an updated section on the movement of cinema from film to digital media. When the book was first published in 1995, that transition had only just begun. In 2001, it was much more underway, though still far from where we are now in 2021. The first part of book, mostly unchanged from the original printing, is 70-some pages adapted from a lecture series Walter Murch had given on film. The last part of the book is called an afterward, but it is about equal in length to the first part. 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. From 2021, it is impressive how accurate his analysis and predictions were.
Murch is the exact kind of professional I love to read. He’s not only terribly knowledgeable about his subject and field, but he’s an excellent writer and he engages with the art at an intellectual and spiritual level. As someone who edits videos, even of a much lower caliber than the material Murch works on, I found myself nodding along in recognition of what he revealed. His handling of the topic is simultaneously familiar and original, and always it is full of insight. The work managed to give me a new appreciation for what we do, and that is a gift from Murch to all of us. 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.
I’m glad I didn’t read the book at the start of my journey. While I may have gotten a few glimpses of insight, I would have been asking the book to be something other than it is rather than hearing what it has to say.
Recommended by Jodie Foster and it does not disappoint. Solid insight into the art & craft of editing from a master. Truly engaging with insight into editorial philosophy and the why, not just the how, of editing. I recommend to any serious editor or filmmaker.
This book is legendary in the editing world, and for a good reason. But you only need to read the first half. The Second half just talks about his predictions about how digital film will affect cinema. It’s outdated, and I wish I just read the first half twice instead. Still worth five stars.
A very light and illuminating read. I bought this book for my brother but soon after reading I found the content quite relatable when it comes to how budget and projects are managed. It gives a peek in how things work in post production. It’s interesting to get to know how, in past, the editors had to mechanically splice the films and had to review the films for years during editing phase. The writing of author demonstrates how thorough his note taking might be as well his grasp on the emotion for the stories he worked on. His technical predictions are spot on and left me quite impressed. A good read. The book has raised my curiosity for the movies – “Apocalypse Now” and “The English Patient”. And, I will surely watch them.
About In the Blink of an Eye: A Perspective on Film Editing
Walter Scott Murch is an American film editor, director, writer and sound designer. With a career stretching back to 1969, including work on THX1138, Apocalypse Now, The Godfather I, II, and III.