Steve Hullfish

Art of the Cut (eBook, PDF)

Conversations with Film and TV Editors, Volume II

• Format: PDF

Produktbeschreibung

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with more than 360 interviews from the world's best editors (including nearly every Oscar-winner from the last 30 years).

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Produktdetails

• Verlag: Taylor & Francis
• Seitenzahl: 354
• Erscheinungstermin: 18. Juli 2024
• Englisch
• ISBN-13: 9781040036464
• Artikelnr.: 72376737

Autorenporträt

Steve Hullfish, ACE, has been editing professionally since 1984. He has edited theatrical feature films, (including Courageous, War Room, and Overcomer), TV series (including The Oprah Winfrey Show), and documentaries. He is the author of six other books on editing and post-production. He has taught editing to students and professionals all over the world, and his books have been translated into numerous languages. His work has also been published in post-production trade journals worldwide.

Inhaltsangabe

Acknowledgments
Introduction
Film Editor Biographies
1. PROJECT ORGANIZATION
Cards on a Wall
Project Organization
Scene Bin Organization
Scene Bin Organization with JPEG Markers
Selects or KEM Rolls
Sequence Organization
Organizing a Timeline Layout
ScriptSync
2. APPROACH TO A SCENE
Screening Dailies (Rushes)
Watching Dailies Backwards
Finding a Starting Place
Fast and Rough to Start
Using Select Reels
3. PACING AND RHYTHM
Pacing is Musical
What Determines Pacing?
Letting it Breathe
Pacing Due to Screen Size
4. STRUCTURE
Length of First Assembly
Working the First Assembly
Hitting Beats
Structure
Intercutting
Killing Your Babies and Eliminating Shoe Leather
Screening
First Assembly in TV
5. STORYTELLING
Editing is Foundational to Storytelling
Speaking into the Script
Character
Perspective
Structure
A Student of Story
6. PERFORMANCE
Editing as Stewardship
Finding the Performance
Performance That Tells the Story
Shaping Performance
Editing Bracketed Performances
Using Audio from Different Takes Than Picture
Split Screen: The Invisible Weapon
Performance Needs Context
7. SOUND DESIGN
Sound to Sell Visual Edits
Selling the Environment
Collaboration with Sound Team and Assistants
ADR (Automated Dialogue Replacement)
8. MUSIC
The Purpose of Temp Music
Choosing Temp Music
Cutting Without Temp
Songs and Diegetic or "Source" Music
Temping a Franchise Film
Using Score
9. COLLABORATION
Landing the Gig
Styles of Collaboration
Notes
Social Skills
Don't Edit the Way You Think the Director Wants
TV's Collaborative Environment
10. DOCUMENTARY
Schedule
Approaching the Material
ScriptSync
Shot Selection
Pacing and Rhythm
Structure
Sound Design
Music
Collaboration
Notes and Revisions
Miscellaneous Documentary Wisdom
11. MISCELLANEOUS WISDOM
How Did You Break Into the Business?
Emotion
Geography
Learn From Your Mistakes
How Do You Judge the Editing of Others?

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Acknowledgments

Introduction

Film Editor Biographies

1. PROJECT ORGANIZATION

Cards on a Wall

Project Organization

Scene Bin Organization

Scene Bin Organization with JPEG Markers

Selects or KEM Rolls

Sequence Organization

Organizing a Timeline Layout

ScriptSync

2. APPROACH TO A SCENE

Screening Dailies (Rushes)

Watching Dailies Backwards

Finding a Starting Place

Fast and Rough to Start

Using Select Reels

3. PACING AND RHYTHM

Pacing is Musical

What Determines Pacing?

Letting it Breathe

Pacing Due to Screen Size

4. STRUCTURE

Length of First Assembly

Working the First Assembly

Hitting Beats

Structure

Intercutting

Killing Your Babies and Eliminating Shoe Leather

Screening

First Assembly in TV

5. STORYTELLING

Editing is Foundational to Storytelling

Speaking into the Script

Character

Perspective

Structure

A Student of Story

6. PERFORMANCE

Editing as Stewardship

Finding the Performance

Performance That Tells the Story

Shaping Performance

Editing Bracketed Performances

Using Audio from Different Takes Than Picture

Split Screen: The Invisible Weapon

Performance Needs Context

7. SOUND DESIGN

Sound to Sell Visual Edits

Selling the Environment

Collaboration with Sound Team and Assistants

ADR (Automated Dialogue Replacement)

8. MUSIC

The Purpose of Temp Music

Choosing Temp Music

Cutting Without Temp

Songs and Diegetic or "Source" Music

Temping a Franchise Film

Using Score

9. COLLABORATION

Landing the Gig

Styles of Collaboration

Notes

Social Skills

Don't Edit the Way You Think the Director Wants

TV's Collaborative Environment

10. DOCUMENTARY

Schedule

Approaching the Material

ScriptSync

Shot Selection

Pacing and Rhythm

Structure

Sound Design

Music

Collaboration

Notes and Revisions

Miscellaneous Documentary Wisdom

11. MISCELLANEOUS WISDOM

How Did You Break Into the Business?

Emotion

Geography

Learn From Your Mistakes

How Do You Judge the Editing of Others?

Rezensionen

"The greats like Schoonmaker and (the late) Coates are here. But so are the current blockbuster cutters like Eddie Hamilton . . . their methods and style are as individual as the individual themselves. And you as a reader will find yourself muttering 'Absolutely' or 'Nope...that does not work for me.' And you find yourself seated at the table as this masterclass is going on. And it's a really big freakin' table."

-Book Review, by Jonathan Dowler, Canadian Cinema Editors

"Steve Hullfish has interwoven great swathes of interview and made them flow like a well-constructed movie. You get concentrated information fired at you from the most eclectic, dynamic range of editors from all genres, mediums and nationalities . . . Most editors, when asked how they do what they do (a question we are all perhaps a little tired of now) answer 'Instinct!' This marvellous book is the first I've read (sourced from many horses' mouths rather than books written from a single perspective) to refute that. There are concrete techniques to learn here as well as aesthetic considerations that stay our hand or entice an 'I' and an 'O' on a favoured shot. There is something for every editor on every page whether they're new to the industry or, like myself, with many decades behind me."

-Book Review by Alan Miller, GBFTE's First Frame, Spring 2018

Art of the Cut may indeed be the essential tool for the cutting room. Here is a reference where you can immediately see how our contemporaries deal with the complexities of editing a film. In a very organized manner he guides the reader through approaching the scene, pacing and rhythm, structure, storytelling, performance, sound design and music. I am placing this book on my shelf of editing books and I urge others to do the same.

-Jack Tucker, ACE

"In addition to having ready access to the experiences of so many editors in one volume, the book also makes great use of its formatting, structure and layout to enhance the learning experience and make sure you take away some practical wisdom."

-Jonny Elwyn, Film Editor