What does Murch describe as the moment of transition from one shot to the next?
What does Murch describe as the moment of transition from one shot to the next?
What does Murch describe as “the moment of transition from one shot to the next?” It was the last time the number of films edited mechanically equaled the number of films edited digitally. …
What are Walter Murch rules?
Walter Murch’s Rule of Six “The ideal cut is one that satisfies all the following six criteria at once.” Murch talks about six different “criteria” that make a good cut: emotion, story, rhythm, eye trace, 2D plane of screen, and 3D space.
Why do cuts work Walter Murch?
He explains that a movie is like a mosaic; different pieces of the film put together, and a cut represents the displacement of one’s field of vision. Murch refers that each frame is a continuous shot of a vision, but a cut helps the audience view the frame from a different perspective.
What edited Walter Murch?
He is the only film editor to have received Academy Award nominations for films edited on four different systems:
- Julia (1977) using upright Moviola.
- Apocalypse Now (1979), Ghost (1990), and The Godfather Part III (1990) using KEM flatbed.
- The English Patient (1996) using Avid.
- Cold Mountain (2003) using Final Cut Pro 4.
What Russian filmmaker pioneered the ideas of montage editing in direct opposition to Griffith’s seamless editing?
The theory of montage blossomed during the 1920s when it became a charged aesthetic concept for the Soviet avant-garde. In this historical context, the term is most strongly associated with Russian filmmaker and film-theorist Sergei Eisenstein.
How many rules does Walter Murch have with respect to editing?
six rules
Murch’s six rules on editing consist of Emotion, Story, Rhythm, Eye trace, Two- dimensional Plane of Screen, and Three-dimensional Space of Action, which all have different values in order of importance for the cut.
What does Walter Murch say about blinks in terms of editing?
According to Murch, to refrain from blinking suggests intense concentration whereas rapid blinking suggests agitation and distraction. It has seemingly guided Murch’s editing razor over the course of his career as he has searched for rhythm and cinematic truth in countless movie scenes.
What are the six elements of an edit?
Week 7: The 6 elements of the Edit
- Motivation: A reason to cut.
- Information: Information is a motivation to cut.
- Shot composition: This involves knowing what’s acceptable to put on screen.
- Sound: Sound is more important than image.
- Camera Angle: The 180 degree rule and 45 degree rule.
Who is the godfather of sound design?
Walter Murch
Walter Murch is the Godfather of sound design. A graduate from USC film school, his groundbreaking work with George Lucas (THX-1138, American Graffiti) and Francis Coppola (The Godfather trilogy, Apocalypse Now) has redefined the way we listen and engage with movie sound.
Who was the editor for Apocalypse Now?
Walter Murch
Gerald B. GreenbergLisa FruchtmanRichard Marks
Apocalypse Now/Editors
How did Michael Ondaatje meet Walter Murch?
It was on the set of the movie adaptation of his Booker Prize-winning novel, The English Patient, that Michael Ondaatje met the master film and sound editor Walter Murch, and the two began a remarkable personal conversation about the making of films and books in our time that continued over two years.
What kind of movies does Walter Murch appear in?
Among the films Murch has worked on are American Graffiti, The Conversation, the remake of A Touch of Evil, Julia, Apocalypse Now, The Godfather (all three), The Talented Mr. Ripley, and The English Patient. “Walter Murch is a true oddity in Hollywood.
Is Walter Murch a good book to read?
Excellent book! An excellent book for anyone interested in the king of audio in the movies. Walter Murch may no be a household name, but his movies are. I loved reading this book and the stories Walter would tell about how he discovered something or what drove him to try something. His passion really comes through in everything he says.
Why should I read Ondaatje and Murch?
Between Ondaatje’s keen insights, and Murch’s alway surprising viewpoints, it really feels like the rare opportunity to eavesdrop on a conversation between two artistic masters. Even if you aren’t an editor but love film, this book will expand the horizons of how you think about the medium.
