By Karen Pearlman
There are lots of books at the technical points of movie and video modifying: e.g., easy methods to use software program applications like ultimate reduce professional and Avid. a lot rarer are books on how an editor thinks and makes judgements. confronted with countless numbers of hours of uncooked pictures, a movie editor needs to craft the items right into a coherent complete. Rhythm is a primary device of the movie editor; while a filmmaker alter the size of photographs on the subject of each other, she or he impacts the whole speed, constitution, and temper of the movie. till this publication, rhythm was once thought of a question of instinct; sturdy editors should still simply 'know' whilst to make a cut.
Cutting Rhythms breaks down the problem of rhythm in an obtainable means that permits filmmakers to use the rules to their very own paintings and bring up their creativity. This e-book deals percentages instead of prescriptions. It offers questions editors or filmmakers can ask themselves approximately their paintings, and a transparent and important vocabulary for operating with these questions.
Filled with undying ideas and thought-provoking examples from a number of overseas motion pictures, this ebook is destined to develop into a staple within the filmmaker's library.
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Extra info for Cutting Rhythms: Shaping the Film Edit
We know the movement of time from the ﬂow of the life-process,”12 he describes movement as the means by which we perceive time and energy. ACTIVELY PERCEIVING RHYTHMS As living beings, editors inherently have some knowledge of rhythms of the world, but it is also possible for them to develop and enhance their rhythmic intuition by engaging an active awareness of rhythms of the world through the perception of movement of energy and time. For example, almost every one of the twenty-three distinguished editors interviewed in First Cut, Conversations with Film Editors13 mentions music, their love of music, or their musical training.
In other words, even if we ourselves have not moved in a particular way, for example, if we have not fallen in a fast, straight, hurtling trajectory, our bodies know to duck if something comes hurtling at them, just as they know to brace for impact if they themselves are falling. We know the laws of physics in our bodies because we live them. So, movement speeds, directions, and energies have meaning when we see them, even if we have not experienced them. Through our kinesthetic memory of life lived in time, space, energy, and movement, we can account for responsive attention to movement in ﬁlmed rushes.
320 (“exclusively in the realm of intuition,” Merle Worth), p. 372 (“an internal sense,” Richard Marks), p. 381 (“we go by intuition,” Alan Heim). 2. , The Reﬂective Practitioner: How Professionals Think in Action, p. vii. 3. , The New Brain, p. 22. 4. Ibid. 5. html; accessed March 2007. 21 22 CHAPTER 1: Rhythmic Intuition 6. , The New Brain, p. 22. 7. , “The anatomy of intuition,” in The Intuitive Practitioner, p. 40. 8. , p. 44. 9. , Introduction to Metaphysics, pp. 81–82, as quoted in Fraleigh, S.