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Film Editing Room Handbook, 3rd Edition
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Code: ZFLER
Price: $24.95
Shipping Weight: 1.81 pounds
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The Film Editing Room Handbook, 3rd Edition:
The Nuts and Bolts of the Assistant Editor’s Job
by Norman Hollyn Includes Working With Lightworks And Avid
ISBN 1-58065-006-6 Film/Cinema
Editing room procedures have been developed over many years to expedite the editing process. Norman Hollyn’s book is written primarily for those who have an active interest in how a professional cutting room operates. To help those thinking of making it their career, this book is quite detailed. As you read about how to make a cutting room work, you will also get a tour of the filmmaking process itself as seen through the editor’s eyes.
"A majority of moviegoers have no idea what a film editor does, so this book will be invaluable to them, as well as to film students and independent filmmakers. Well-written, semi-technical and profusely illustrated, this work covers the editing process from pre-production image and sound, opticals, mixing, and music editing through post-production answer print and previews. Perhaps most important, it tells how to get an editing job."
-Library Journal
"...a pragmatic and detailed text that fills a definite need."
-Backstage Magazine
"Norman Hollyn has written a fine book for assistant editors and film students alike called The Film Editing Room Handbook. [Hollyn] adopts a friendly, big brother style to convey a remarkable range of information, including how to look for work and the importance of establishing personal relationships with lab contacts."
-Motion Picture and Videotape Editors Guild Newsletter
"This informative book provides an in-depth view of the film editor’s cutting room, detailing picture, sound, and music editing. Loaded with helpful advice and anecdotes, the book is a boon to both novice film editors and a reference book for experienced editors."
-Concise Book Reviews
TABLE OF CONTENTS
Acknowledgments
Introduction To The Third Edition
Introduction
Cast Of Characters
Editing Within The Filmmaking Process
Editing In A Digital World
Preliminaries
Non-Linear Preliminaries
Before The Film Begins
Working Digitally Before Shooting
Shooting
Shooting The Digitally Edited Film
Preparing For Editing
Preparing For Digital Editing
The Editor Edits
The Editor Edits Digitally
Special Cases
Digital Special Cases
Cutting Away
Digitally Cutting Away
Recutting Away
Recutting Digitally
Opticals
Opticals In A Non-Linear World
Preparing For Sound
Digitally Preparing For Sound
Sound Editing
Special Sound Considerations On A Digital Picture
Dialog And Looping Editing
Dialog And Looping On A Digital Picture
Music Editing
Music On The Digital Film
The Mix
Mixing On A Digital Picture
To The Answer Print-Ho!
Answer Printing Digitally
Odds And Sods
Digital Odds And Sods
The Hardest Job Of All - Finding A Job
Appendix I
Appendix II
Appendix III
Glossary
Bibliography
Index
INTRODUCTION TO THE THIRD EDITION
Eight years ago, in the introduction to the last edition of this
book, I wrote: "...it is now possible to see the day when editors and
directors will be able to make the choice as to whether they would
like to cut on film or video." The reality today, at the begining of
the twenty-first century, is that there is almost no choice to be made.
Unless budget dictates otherwise, almost all film and television is
now cut on digital electronic editing machines (and I now use that
term, rather than "video").
Once the digital editing transition hit the industry, the changes
happened fast. Sound editing transformed first, quickly followed by
television post-production. Now, feature films have moved almost
completely over to electronic editing. Almost no part of the editing
world has remained untouched by technology. Editors have had to
learn new technology, adapt to new job demands, and grapple with
reduced staffs. Assistant editors have had to learn new techniques
to go with this technology. But, just as I wrote in the introduction to
the last edition, the basic skills needed to make an assistant editor a
good assistant editor have changed very little. There is still the need
for organization, planning and a pleasant personality.
The changes have been so wide-ranging that the second edition
of this book seemed increasingly, hopelessly, out of date. Not
only had editing changed, but electronic editing was changing nearly
monthly.
Still, feature films are shot on film and made to be released on
film. Many of the tasks a good assistant needed to know remain the
same, there is just a lot more to learn and know in addition to all
the old skills. Now, it is just as important to know a computer operating
system as it is to know how an optical is created.
As a result, parts of this book were required to remain the
same as its second edition. There are additions and changes, of course,
but like the job description of the assistant editor, this book hasn’t
completely changed so much as it has grown more complex. Not
only are the old film skills important and documented here, but
computer editing skills also need to be developed and written about.
As I said in the last edition, at its core film editing is still film editing.
All of the skills and systems developed over many decades to
make the putting together of thousands of little pieces of celluloid
go smoothly, are just as applicable today as they were eight years
ago. On second thought, make that "twenty-five years ago." On
third thought, make that "when assistant editors first started assistant
editing."
About the Author
Veteran film editor Norman Hollyn has worked with directors such as Francis Ford Coppola, Arthur Penn, and Alan Parker. His film credits include The Cotton Club, Hair, Fame, Sophie’s Choice, Four Friends, Mr. Destiny, Heathers, and Network. Hollyn has taught at UCLA, USC and the American Film Institute. He is a member of The Academy of Motion Picture Arts and Sciences.
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