Margt af því sem Murch bendir á varðandi möguleg vandamál við klipp í stafræna heiminum vs analog er eitthvað sem ég get tengt við og lært af. 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. 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.

Going in to detail about when and why we blink he takes this and talks about when to cut and how blinking so important. 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. At any rate, I believe "filmic" juxtapositions are taking place in the real world not only when we dream but also when we are awake. According to The Film Stage, the book “is often considered the essential literary source on film editing.Lesin þreyttur í rúminu mínu, í pakkfullumstrætó úr Hamraborg og árla morguns á bensínstöðinni við Laugarveg, en kláruð í Stúdíó Sýrlandi við tökur á fyrstu breiðskífu Woolly Kind. 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.

Svo er líka gaman að sjá hversu vel hann nær að spá fyrir náframtíðinni en allt sem hann segir hefur orðið að veruleika í dag.Mitch applies real world psychology and science to delve into the history of editing processes and the theory behind why it works. 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. g. Edit Decision Lists), but it gets really good again contemplating what we lose when we take an enormous leap forward with technology. 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. 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).