Details for: Nonlinear editing : storytelling, aesthetics, and craft /

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Nonlinear editing : storytelling, aesthetics, and craft / by Bryce Button

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Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Book	MAIN LIBRARY Book	PRINT	778.535 BUT (Browse shelf(Opens below))	1	Available		088131
Book	MAIN LIBRARY Book	PRINT	778.535 BUT (Browse shelf(Opens below))	3	Available		088132

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Enhanced descriptions from Syndetics:

The art of editing in a nonlinear mode cannot be gleaned from software application manuals. This book is designed to convey the artistic considerations and techniques that both new and experienced editors need to employ in editing digital stock. Readers learn the importance of timing, emotion, and art in assembling a cohesive project that tells a story with the appropriate flow and pace. Each chapter features interviews with professionals and exercises relevant to the subject matter under discussion.

Includes CD Rom

Includes index

Table of contents provided by Syndetics

Acknowledgments (p. xi)
Introductions (p. 2)
Who Am I and Why Did I Write This Book? (p. 2)
Interview with Tom Rolf (p. 6)
Goals of the Book (p. 9)
Who Might Enjoy Reading This Book? (p. 11)
How to Use This Book (p. 13)
Topics Not Discussed (p. 15)
Chapter 1 Gathering the Editor's Tools (p. 20)
Part I "You"
The Personal Quiver (p. 20)
The Joy of Journals, Concept Maps, and Research (p. 25)
Improving Visual Literacy (p. 35)
Getting to Know Pace and Rhythm (p. 42)
Gathering Patience and Understanding Politics (p. 45)
The Tale of Michael Horton--the Actor Turned Editor (p. 48)
Part II "The Stuff"
The Equipment Rucksack (p. 57)
The Right Tools for the Job (p. 64)
Exercise--Tools I'd Like; Tools I Need (p. 66)
Outside Resources (p. 70)
Chapter 2 Planning the Process (p. 74)
Pre-Postproduction (p. 74)
Budgeting Time and Personnel (p. 79)
Logging and Suggested Bin Structures (p. 83)
Initial Assembly (p. 89)
First Rough Cut (p. 90)
Breaks and Reviews (p. 95)
Understanding the Role of the Nervous Breakdown (p. 96)
Interview with Mary Sweeney (p. 100)
First Fine Cut (p. 101)
Note on Family and Lovers (p. 105)
Exercise--The Time Spreadsheet (p. 107)
CD and Outside Resources (p. 108)
Chapter 3 Giving Respect Where Respect Is Due (p. 112)
Script as Architecture (p. 112)
Directorial Intent (p. 113)
Camera Angles and Movement (p. 115)
Reading the Light (p. 121)
Reading the Actor (p. 124)
Historical Evolution of Editing Theory and Dawn of Digital Cinema (p. 126)
Interview with David Emrich (p. 130)
Exercise--Predicting Flow (p. 144)
Outside Resources (p. 145)
Chapter 4 Gathering Around the Campfire (p. 148)
Stories and Their Purpose (p. 148)
In the Beginning (p. 151)
Nine Main Myths (p. 155)
Campbell and the Hero's Journey (p. 156)
The Editor's Role as Storyteller (p. 161)
Exercise--The Visual Story of Your Life (p. 163)
CD and Outside Resources (p. 165)
Chapter 5 Overcoming Story Problems (p. 168)
Problems of Plot (p. 168)
Interview with Philip Taylor (p. 170)
Problems of Character (p. 177)
Image at the Heart (p. 182)
Exercise--Scene Breakdown (p. 183)
CD and Outside Resources (p. 183)
Chapter 6 Tripping on Transitions (p. 186)
End-desired Structure (p. 186)
Building Blocks of Drama for the Editor (p. 187)
Shot, Scene, Sequence (p. 191)
Discovering the Beat (p. 192)
The Art of Revelation (p. 194)
Six Elements of an Edit, Treatment, and Dmytryk's Rules (p. 198)
Transitions (p. 204)
Interview with Jon Mauldin (p. 206)
Search for the Invisible Edit (p. 211)
Power of Comics (p. 213)
Exercise--Identifying Transition Types (p. 215)
CD and Outside Sources (p. 216)
Chapter 7 Color and Composition (p. 220)
Meaning of Color and Visual Design (p. 220)
Chad's story (p. 222)
Seeing an image from a color blind perspective (p. 223)
The Color Wheel and Relationships (p. 235)
Interview with Kane Platt (p. 240)
Color as Actor (p. 241)
Rule of Thirds (p. 245)
The math of the golden mean (p. 247)
Depth and Position (p. 249)
Shading and Texture (p. 251)
Core Shapes and Movement (p. 254)
Central Point of Interest (p. 258)
Exercise--A Trip to the Art Museum (p. 258)
CD and Outside Resources (p. 262)
Chapter 8 Compositing and the Editor (p. 266)
Editing in the Vertical Plane (p. 266)
Keys and Their Application (p. 272)
Interview with David Baud (p. 276)
Weight and Meaning (p. 277)
Form, Text, and Meaning (p. 281)
Importing Logos and EPS Files (p. 285)
Experimentation and Discovery (p. 289)
Keeping the Ego in Check (p. 290)
Exercise--Collage Work (p. 291)
CD and Outside Resources (p. 291)
Chapter 9 Dynamic Sound (p. 296)
Sound as Character (p. 296)
Invisible Sound (p. 299)
Elongating and Enlarging Sound Effects (p. 303)
Tone and Pitch (p. 304)
The Sound of Vietnam (p. 306)
Balance (p. 309)
Equalization (p. 319)
Preparing for the Composer (p. 322)
Purpose of the Mix (p. 328)
Preparing for the Mix (p. 335)
Exercise--Lynch and Badalamenti (p. 342)
CD and Outside Resources (p. 343)
Chapter 10 How Do I Break In? (p. 346)
Getting to Know You (p. 346)
What's Required? (p. 349)
To Freelance or Take the Position? (p. 353)
Resumes, Phone Calls, and Rejection (p. 358)
Who Actually Hires? (p. 362)
Who You Know and Who Knows You (p. 365)
Resources for Jobs (p. 366)
Interview with Rick Kent (p. 372)
Exercise--Resume Preparation and Personal Mission Statements (p. 373)
Outside Resources (p. 381)
Chapter 11 Clients and Chaos (p. 388)
Who's Paying the Bills? (p. 388)
Converting Conflict to Collaboration (p. 394)
Educating the Client (p. 398)
Handling Criticism (p. 400)
Educating and Maintaining Yourself (p. 402)
Look After Yourself (p. 403)
Buying Time to Care (p. 406)
Exercise--Strengths and Weaknesses (p. 409)
CD and Outside Resources (p. 409)
Chapter 12 Conclusions and Continuity (p. 412)
The Path of the Craft (p. 412)
How to Learn (p. 415)
What to Look for in a Project (p. 419)
For Love or Money? (p. 421)
Interview with Elizabeth Rufenacht (p. 422)
Moving to the Next Tool (p. 425)
Moving to the Next Job (p. 433)
Exercise--Two-Year Plan (p. 438)
Outside Resources (p. 440)
Chapter 13 Useful Lists (p. 446)
General Editing "Rules" (p. 446)
Preparing for Post--A General Guide (p. 447)
Avid Media Composer Tips and Power Plays (p. 453)
Media 100 Tips (p. 470)
Final Cut Pro Quick Tip Sheet (p. 475)
Bin Examples (p. 479)
Job Flow Sheet (p. 480)
Compositing Worksheet (p. 485)
Story Structure Questions (p. 487)
Databases (p. 488)
Internet Considerations (p. 490)
2:3 Pulldown Explained (p. 491)
General Editing Book References (p. 497)
Freedom vs. Responsibility: The Freelancer (p. 498)
Chapter 14 What's on the CD? (p. 506)
Exercises (p. 506)
Image Files (p. 506)
Mac Classic Software (p. 507)
Mac OS X software (p. 510)
Palm DB folder (p. 512)
Photoshop Goods (p. 512)
Sound Files (p. 512)
Totally Hip Software (p. 513)
Useful Documents (p. 513)
Windows Software (p. 515)
Index (p. 517)

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