- Paperback: 304 pages
- Publisher: Focal Press; 1 edition (March 5, 2017)
- Language: English
- ISBN-10: 113823866X
- ISBN-13: 978-1138238664
- Product Dimensions: 5.9 x 0.6 x 8.9 inches
- Shipping Weight: 15.5 ounces (View shipping rates and policies)
- Average Customer Review: 7 customer reviews
- Amazon Best Sellers Rank: #119,023 in Books (See Top 100 in Books)
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Art of the Cut: Conversations with Film and TV Editors 1st Edition
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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
About the Author
Steve Hullfish is a feature film and TV editor with credits including, "Courageous," "War Room," "Champion" and the theatrically-released feature documentary, "Clinton Inc." Hullfish is the author of five other books, including The Art and Technique of Digital Color Correction and Avid Uncut. Hullfish also trains editors and colorists around the world.
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Top customer reviews
Starting with the mindset of setting up and approaching a project and going through to the philosophical reasonings why one might make certain choices, Steve Hullfish did a tremendous job crafting an immensely practical book and my gratitude goes out to the men and women who shared their hard-won knowledge to make the path easier to follow for all of us.
Technology always marches relentlessly on, but just as the 5 Cs of Cinematography is just as relevant today as it was almost 70 years ago, I believe this book will stand the test of time and be a continual source of inspiration and reference for practitioners of "the invisible art."
You can see the love Steve H. has for the craft, how he scrutinize and elicit from editors the cream of the crop, not by only asking the right questions, but also because he is trying to absorb as much as possible from such great talents. I mean, there is a lot people out there making interviews, but you end up getting disappointed… and when you have experience, you want something more, and Steve does that from time to time.
If you love this craft, you will be hooked since the beginning and I almost crumble (literally) when he was talking about the mission of this book, the sacrifices and other thoughts on the introduction… along with a reminiscence to Lupita Nyongo’s speech at the oscars. I mean, you will feel the passion and dedication, and be grateful for it.
These editors are top-of-the line, with credits ranging from “The Martian” to “Breaking Bad”. On the other hand, with the exception of the chapter on documentary, these are all editors working on major movie and TV productions that are fictional. This means that for the lone wolf, wedding, commercial or other shooters, much of the experience may have to be transmuted to be practical. On the other hand, even though the experiences offered were not directly applicable to non-big league shooters, the information was always interested, in no-small part due to Hullfish’s ability to interweave the interviews.
Typical of the book was the portion on characterization. I had never considered how the editor could affect the viewer’s interpretation of the nature of a character by selection of the right clips and adding or deleting a few frames. On the other hand, most of the discussion was of a general nature. It would have been better if the editors had described particular scenes and the clips they had to choose from to shape the characterization and how they made their selection. (Even better would have been a chance to see the actual clips with the editor’s explanation. Unfortunately, my searches of the internet didn’t reveal any material that took this approach.)
One of the things that the editors noted was that it’s hard to judge the quality of editing from a finished movie or video because the viewer has no idea what the editor started with. At best, the editors suggested, all one could hope for was the degree to which the overall movie was satisfying.
The book includes several rather poorly printed images of editors at work. It’s just as well since the sight of a person sitting in front of an Avid workstation doesn’t provide much information.
The author says that the book’s website will contain the actual interviews as well as other chapters including the editors’ discussions of specific movie scenes. Unfortunately, when I went to the site, nothing had yet been posted.
If you are hoping to learn the basics of film and video editing, whether it’s how to operate a non-linear editor or how to best cut a film to tell a story, this book may be of limited use. On the other hand you may be able to glean a few tips, and you will certainly gain an insight into the world of top editors.
Note: The publisher provided me with a review copy of this book at no charge.