By Roger Crittenden
Roger Crittenden unearths the stories of a number of the maximum dwelling ecu movie editors via his hot and perceptive interviews which provide a distinct perception into the paintings of enhancing - direct from masters of the craft. of their interviews the editors relate their adventure to the administrators they've got labored with, together with: Agnes Guillemot- (Godard, Truffaut, Catherine Breillat) Roberto Perpignani- (Welles, Bertolucci, Tavianni Brothers) Sylvia Ingemarsson- (Ingmar Bergman) Michal Leszczylowski- (Andrei Tarkovsky, Lukas Moodysson) Tony Lawson (Nic Roeg, Stanley Kubrick, Neil Jordan) and lots of extra. Foreword by way of Walter Murch - three-time Oscar-winning Editor of 'Apocalypse Now', 'The English Patient', 'American Graffiti', 'The dialog' and 'The Godfather half II and III'. Â· during this ebook Roger Crittenden finds the studies of some of the maximum residing ecu movie editors Â· Foreword by way of the incomparable movie Editor, Walter Murch Â· residing exponents achieve again to bare the unconventional shift in technique created by means of the French New Wave and hint the styles of enhancing perform into this new century
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Additional info for Fine Cuts: The Art of European Film Editing
Time keeping, crew behaviour, dress and manners all come, at least in part, from the DP and so they set the standard for the professional approach of the crew. DPs are responsible for all matters pertaining to the photography of the film – lighting, exposure, composition, cleanliness, etc. are all, ultimately, their responsibility. DPs will more often than not nominate the crew – that is, they will have put into the production office a list of first choice and second choice people to be offered the job.
As you will appreciate, for a DP to have a regular and admired operator can be an advantage to everyone. While the operator is responsible for all the camera movements during the shot, they are not responsible for the physical movement of the camera between shots. This falls to the team of focus puller, loader and grip. During a shot the travelling movement of the camera is the responsibility of the grip, working under the direction of the operator. The Director of Photography Although I started this book with a more detailed description of the DP’s role, I am including here a more general view on the craft in order to see the DP’s responsibilities within the overall concept of the camera crew.
The persistence of vision Producing moving images from a length of still pictures relies on what might be considered an aberration in the process of human vision. If an image is flashed upon the retina of the eye the person sees that image, briefly, in its entirety and then, over a short period, the image stays with the person while growing fainter or decaying. If a second image is flashed on the retina, soon enough the person will see the two images as a continuous image without the first flash.