Cutting rhythms : shaping the film edit (Book, 2009) [WorldCat.org]
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Cutting rhythms : shaping the film edit

Author: Karen Pearlman
Publisher: Amsterdam ; Boston : Focal Press/Elsevier, 2009.
Edition/Format:   Print book : EnglishView all editions and formats
Summary:
There are many books on the technical aspects of film and video editing: e.g., how to use software packages like Final Cut Pro and Avid. Much rarer are books on how an editor thinks and makes decisions. Faced with hundreds of hours of raw footage, a film editor must craft the pieces into a coherent whole. Is a fundamental tool of the film editor; when a filmmaker adjust the length of shots in relation to one  Read more...
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Details

Document Type: Book
All Authors / Contributors: Karen Pearlman
ISBN: 9780240810140 0240810147
OCLC Number: 934283093
Description: xxix, 269 p. : il. ; 24 cm
Contents: Rhythmic intuition --
Editing as choreography --
Timing, pacing, and trajectory phrasing --
Tension, release, and synchronisation --
Physical, emotional, and event rhythms --
Physical rhythm --
Emotional rhythm --
Event rhythm --
Style --
Devices --
Common scenes.
Responsibility: Karen Pearlman.
More information:

Abstract:

There are many books on the technical aspects of film and video editing: e.g., how to use software packages like Final Cut Pro and Avid. Much rarer are books on how an editor thinks and makes decisions. Faced with hundreds of hours of raw footage, a film editor must craft the pieces into a coherent whole. Is a fundamental tool of the film editor; when a filmmaker adjust the length of shots in relation to one another, he or she affects the entire pace, structure, and mood of the film. Until this book, rhythm was considered a matter of intuition; good editors should just 'know' when to make a cut. Breaks down the issue of rhythm in an accessible way that allows filmmakers to apply the principles to their own work and increase their creativity. This book offers possibilities rather than prescriptions. It presents questions editors or filmmakers can ask themselves about their work, and a clear and useful vocabulary for working with those questions. Filled with timeless principles and thought-provoking examples from a variety of international films, this book is destined to become a staple in the filmmaker's library.

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