Rating: 
Summary: Film editing means what it says...
Review: After reading Maggie333's review it reminds me just how removed the modern generation of video editors (the esteemed terms of "cutters" and "film editors" I reserve for those who handle film) are from the actual art of "film" editing. The whining about how the old timers don't devote enough time to paying homage to the new wave that is digital smacks of immaturity and pretentiousness. This attitude that there is nothing to learn from the old hands is exactly what elevates good film editors above the seemingly endless stream of video junkies who believe the sun rises and sets with their cute, color-coded keyboard. I believe that NLE has its place in todays aresenal of tools available to the editor. But there is much to learn from actually cutting on film, and any aspiring film editor would do well to recognize this. In short, it takes a lot more time to cut on film, which forces you to learn patience and in the process makes you think more about each cut. I have no doubt that cutting on film makes you a better editor, regardless of where your career path takes you. Issues like pacing, shot selection, and good dialogue editing, not to mention many others, is precisely why learning the craft on a flatbed is so beneficial, and which to a great degree, is lost on those editors who work only in the digital domain. There are many indie films being made out there, so there is ample opportunity for those who claim no opportunity to learn on film. Although Mr. Murch's book is good, I would highly recommend another. That book would be "On Editing Film" by Edward Dmytryk. This little gem offers a wealth of insight, practical knowledge and immesely useful information in a nuts-and-bolts style of short, to the point writing. I believe that this book provides the film editor everything necessary to sit down at the Steenbeck or Moviola (that's Moviola Maggie... not Motorola). I read it anew everytime I begin cutting a new film. I would also point out that many in Hollywood are going back to the Steenbeck, as the pitfalls of NLE are self-evident. That makes books like Murch's and Dmytryk's invaluable.
Rating:
Summary: Film editing means what it says...
Review: After reading Maggie333's review it reminds me just how removed the modern generation of video editors (the esteemed terms of "cutters" and "film editors" I reserve for those who handle film) are from the actual art of "film" editing. The whining about how the old timers don't devote enough time to paying homage to the new wave that is digital smacks of immaturity and pretentiousness. This attitude that there is nothing to learn from the old hands is exactly what elevates good film editors above the seemingly endless stream of video junkies who believe the sun rises and sets with their cute, color-coded keyboard. I believe that NLE has its place in todays aresenal of tools available to the editor. But there is much to learn from actually cutting on film, and any aspiring film editor would do well to recognize this. In short, it takes a lot more time to cut on film, which forces you to learn patience and in the process makes you think more about each cut. I have no doubt that cutting on film makes you a better editor, regardless of where your career path takes you. Issues like pacing, shot selection, and good dialogue editing, not to mention many others, is precisely why learning the craft on a flatbed is so beneficial, and which to a great degree, is lost on those editors who work only in the digital domain. There are many indie films being made out there, so there is ample opportunity for those who claim no opportunity to learn on film. Although Mr. Murch's book is good, I would highly recommend another. That book would be "On Editing Film" by Edward Dmytryk. This little gem offers a wealth of insight, practical knowledge and immesely useful information in a nuts-and-bolts style of short, to the point writing. I believe that this book provides the film editor everything necessary to sit down at the Steenbeck or Moviola (that's Moviola Maggie... not Motorola). I read it anew everytime I begin cutting a new film. I would also point out that many in Hollywood are going back to the Steenbeck, as the pitfalls of NLE are self-evident. That makes books like Murch's and Dmytryk's invaluable.
Rating: 
Summary: Don't "Blink" or you'll miss it
Review: Despite the admiration I have for Walter Murch, "In the Blink of an Eye" was a waste of money. The book is actually the transcript of a lecture he gave at a film school, and to his credit, it was not Murch who came up with the idea of marketing it as a full-length book. He did attempt to lengthen this edition by adding a section on digital editing, but still, the book falls short of expectation. Murch's insights into film editing, both analog and digital, are valuable, and I would recommend picking up the book from the library or sitting down and reading it at your local bookstore - it really is that short, but it's not a keeper. I bought this book hoping to get some real-world tips to editing - what makes a good cut and what doesn't, pacing, etc., etc., etc., but I came away with just one - cut when you blink. Murch's "blink theory" is interesting, but there's much more to editing than just that. I was looking for more from one of the best editors in the business. Murch does discuss some of his own experiences while editing movies such as "Apocalypse Now" and "The English Patient", but doesn't really delve into the cutting itself and why he chose certain shots or cut a scene a certain way. The book also discusses the history of digital editing and its future but seems to focus on the attitudes of older directors and editors alike who seem to be afraid of change and insist, like Stephen Spielberg who bought up every Motorola editing system and hired enough technicians who can fix the ancient editors so that he will never have to fire up that computer, that "the old way" is better than the new one. Murch seems to be in the middle of the debate. It is interesting to hear what he has to say, but it still seems to me to be rehashing the old joke about the grandparents who are unable to set the VCR. For those brought up on digital editing, it is only natural to sit down and touch a keyboard than experience what Murch believes is all important - standing up and touching the film itself. If you're looking for a little bit of editing theory, a little bit of editing history, a little bit of personal experience, this book delivers, but if you're looking for a more in-depth discussion of editing in the 21st century, I recommend buying any Robert Rodriguez DVD, whether you like the movie or not, and listening to the commentary. Rodriguez not only gives tips on making a movie as a whole, but also how to film to edit, and how to cut scenes - all digitally.
Rating: 
Summary: do editors dream of digital moviolas?
Review: I belive it is very hard to write a book on film editing, maybe the best way to teach this is with a video or in an actual class. But this book does acomplish a couple of interesting things. You will love to read the "blink of an eye" theory in this book.
I really recomend this book to get the feeling that a great editor has on the whole cuting business.
His final words on film editing on compuder sistems are a little behind, because his book is like 7 years old. Finaly I belive his questioning to the NLE systems really makes you realize what you are missing on your final cut or premiere system.
Buy this book.
Rating: 
Summary: read it with a blink of my eye. AMAZING!
Review: I got this book in the mail and i finished reading it the same day. Walter Murch can write so compellingly well while delivering an exteremly great portrayal of the Artistry behind Editing Film. I'm so glad I purchased this book. Anybody who is interested in editing, should definitely read this. Movies to his credit include: Cold Mountain, English Patient, Apocalypse Now, Godfather III, Julia (ofcourse he's done more, but those are great popular choices)
Rating:
Summary: Fascinating reading
Review: I had to read this book for my Graphic Design class. I thought, "I'm not in Film school, why should I have to read this?" Well, I was very pleasantly surprised. I am a movie lover so learning about film editing was pretty interesting but I was also able to relate film editing to editing in Graphic Design. In film editing you start out with alot of material. With that material, you could do like five different movies. Editing is what steers the story your trying to get out in a direction that you want your viewer to understand. In Graphic Design, you do the same. You keep parts, cut parts to make your story clear. I highly recommend this book for Film students and Graphic Design students. This book is also very personable, which makes it easy to read.
Rating:
Summary: How to Edit 101
Review: If you are planning to have a career in the film industary, read this book, you will be better off for it. From just the basics, to some ral insights in the mind of an editor, this book will help make you a more valuable crew member and make you a better editor.
Rating:
Summary: A must for film Editors
Review: In The Blink of an Eye is a must for anyone intersted in film editing. It is a very precise, very up-to-the-minute book that tells the reader everything he needs to know about this profession. The book is comprehensive in its comparision between the old traditional hands-on approach to film editing and the new wave of digital film editing that we are presently living through. Murch doesn't shy away from telling us his real opinions about both processes. He is very honest and truthful. This book is very interesting. Murch, who edited films for Coppola as well as won an Academy Award for editing The English Patient, knows what he is talking about. He knows all the ins and outs of this profession and has no trouble telling his readers all about it. I particularly enjoyed the second half of the book, where Murch goes into great details to describe this new wave of digital editing. He really gives us all the pros and cons of this new revolution. My only problem with this book is that it was too short. Ending up being a little less than 150 pages, the book left me wanting more. Murch could have gone into more details of his own career and his own experiences as an editor. There is a section where he talks about the dilemmas he had editing The English Patient, where he had to mix his work life with his personal life, that is very affecting. I wanted more of that. But overall, this book is a great one for anyone who is curious about film editing, for anyone who wants an introduction to this great art.
Rating:
Summary: A great look at Film Editing
Review: Murch delivers a short, but insightful analysis of film editing. The just of the title refers to Murch's theory that an eye blink is the equivalent of an edit. He found that when an audience is riveted they will seldom blink. His further studies led him to believe that an audience will generally blink when a film cut should be made. Whether true or not, it was truly thought provoking. I also found his analysis of non-linear editing quite insightful. He goes a good way to explain the positive and the negative of editing on a computer versus the old cut and paste method. The computer oriented method offers quicker editing and fixing. When you physically cut film it cannot be undone without a lengthy ordeal. On a computer, you can quickly restore any changes. Murch, though, feels that the necessity of rolling through raw footage on a movieola sometimes led to better shot selection during his re-edits. When editors digitize what they initially like, they limit themselves to the other takes that might make more sense after a rough cut is made. Interesting. These are just some of the many jewels offered in this short work.
Rating:
Summary: Walter Murch goes digital...
Review: No one doubts Walter Murch's accomplishments, artistry or expertise, right? So I have to wonder where the anti-NLE crowd stands now that Walter Murch himself has thrown the moviola over to cut Anthony Minghella's "Cold Mountain" on Apple's Final Cut Pro? The book by the way, is fine, as far as it goes, which in my opinion isn't far enough. Techology discussions should be left out of books, which I think should stand the test of time, versus say a magazine interview. I'd rather know much more than this book offers on how Walter Murch sees a cut. Mr. Murch had sensible things to say about editing digitally seven or eight years ago, but that's a very long time in the computer world, and now he's a convert to NLE (for one major film at least). Editing, I think, has more to do with artistry and a sense of story and composition than it does technology. I don't see a direct benefit achieved by "touching the film" and standing at the table. If you've never touched a piece of film or stood at an editing table, you can't be a good editor? Come on. The editor from Milwaukee said things along the lines of thinking about the best possible cuts, and why they are the best. Any good editor should do this, irrespective of gear. Tell me why, exactly, a thoughtful, creative, organized and visonary editor does better with one technology than another? I have nothing against the old way of doing things, and if that's what makes for someone's best work, fine, let them do it. Whatever works best for you is the right thing to use. But for those who refuse to even consider digital editing, try finding a typewriter store in your area sometime. NLE's are a baby technology, and they are the future. It's hard to think how the moviola is going to be improved. A good editor, I think, will find the current generation of NLE's (FCP4) a pleasure to work on, though the almost infinite choice the NLE presents can be daunting.
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