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    Editing Rules

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    Manuel
    This document discusses editing principles from Edward Dmytryk and Walter Murch. Dmytryk was a director known for films like Crossfire and The Caine Mutiny. He emphasized that technical skill is meaningless without humanity and that the obvious is a sin in art. Murch is an acclaimed editor known for films like Apocalypse Now and The Godfather. He cautions that first assemblies resemble overgrown gardens that require careful pruning rather than brute force. The document outlines both of their philosophies on editing, with Dmytryk focusing on continuity and Murch on emotion, story, rhythm, eye movement, and spatial relationships.

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    Editing Rules

    Uploaded by

    Manuel
    166 views6 pages
    This document discusses editing principles from Edward Dmytryk and Walter Murch. Dmytryk was a director known for films like Crossfire and The Caine Mutiny. He emphasized that technical skill is meaningless without humanity and that the obvious is a sin in art. Murch is an acclaimed editor known for films like Apocalypse Now and The Godfather. He cautions that first assemblies resemble overgrown gardens that require careful pruning rather than brute force. The document outlines both of their philosophies on editing, with Dmytryk focusing on continuity and Murch on emotion, story, rhythm, eye movement, and spatial relationships.

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    Presentación en inglés sobre "reglas" de edición en cine, de Murch and Dmytryk

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    This document discusses editing principles from Edward Dmytryk and Walter Murch. Dmytryk was a director known for films like Crossfire and The Caine Mutiny. He emphasized that technical skill is meaningless without humanity and that the obvious is a sin in art. Murch is an acclaimed editor known for films like Apocalypse Now and The Godfather. He cautions that first assemblies resemble overgrown gardens that require careful pruning rather than brute force. The document outlines both of their philosophies on editing, with Dmytryk focusing on continuity and Murch on emotion, story, rhythm, eye movement, and spatial relationships.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Flag for inappropriate content
    Download as pdf or txt
    166 views6 pages

    Editing Rules

    Uploaded by

    Manuel
    This document discusses editing principles from Edward Dmytryk and Walter Murch. Dmytryk was a director known for films like Crossfire and The Caine Mutiny. He emphasized that technical skill is meaningless without humanity and that the obvious is a sin in art. Murch is an acclaimed editor known for films like Apocalypse Now and The Godfather. He cautions that first assemblies resemble overgrown gardens that require careful pruning rather than brute force. The document outlines both of their philosophies on editing, with Dmytryk focusing on continuity and Murch on emotion, story, rhythm, eye movement, and spatial relationships.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
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    of 6

    Editing Rules...?

    Murch and Dmytryk

    www.ifss.edu.au

    www.ifssproduction.net

    Edward Dmytryk

    (1908-1999)

    Director: Crossfire,The Caine Mutiny, Broken lance,Warlock


    Author: On Film Editing

    Technical skill counts for nothing if it is used only to manufacture


    films which have little to do with humanity.
    In art, the obvious is a sin.

    Edward Dmytryk
    1) Never make a cut without a positive reason
    2) When undecided about the exact frame to cut on, cut long rather short
    3) Whenever possible cut in movement
    4) The fresh is preferable to the stale
    5) All scenes should begin and end with continuing action
    6) Cut for proper values rather than proper matches
    7) Substance first - then Form

    Walter Murch

    (1943-)

    Editor, Sound Designer: Apocalypse Now, Godfather, The Conversation, Cold Mountain

    Looking at a first assembly is kind of like looking at an


    overgrown garden. You can't just wade in with a weed whacker;
    you don't yet know where the stems of the flowers are.

    Film editing is now something almost everyone can do at a


    simple level and enjoy it, but to take it to a higher level requires
    the same dedication and persistence that any art form does.

    Walter Murch
    1) Emotion - Does the cut reflect what the editor believes the audience should be
    feeling at that moment?
    2) Story - Does the cut advance the story?
    3) Rhythm - Does the cut occur at a moment that is rhythmically interesting and right?
    4) Eye-trace - Does the cut pay respect to the location and movement of the audiences
    focus of interest within the frame?
    5) 2-Dimensional place - Does the cut respect the 180-degree rule?
    6) 3-Dimensional space - Is the cut true to the physical/spatial releationships within the
    diegesis?

    Readings and Resources

    The Cutting Edge - The Magic of Movie Editing


    http://ifsstech.wordpress.com/video-channel/
    Using Colorista in Final Cut Pro Introduction
    http://www.redgiantsoftware.com/_assets/uploads/file/community-tutorial/Colorista_FInal_Cut_Intro_web.mov
    Using Colorista in Final Cut Pro Advanced
    http://www.redgiantsoftware.com/_assets/uploads/file/community-tutorial/Colorista_FInal_Cut_Advanced_web.mov
    Adobe DV Primer
    http://ifsstech.files.wordpress.com/2008/06/adobe_dv_primer.pdf
    Adobe Digital Audio Primer
    http://ifsstech.files.wordpress.com/2008/06/audaudioprimer1.pdf

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