%{search_type} search results

"The second novel from the author of Wolf in White Van, inspired by his years living in a small town in Iowa"-- Provided by publisher.
Jeremy works at the Video Hut in Nevada, Iowa in the late 1990s, and he has a problem-- someone is altering the video tapes, inserting poorly lit home video scenes which are odd, sometimes violent, and deeply disquieting. There are recognizable landmarks from just outside of town. As Jeremy investigates, he becomes part of an impossible search for something someone once lost-- and would do anything to regain.

• Acknowledgments
• Introduction
• Chapter One - Editing Basics
• A Very Brief History of Film Editing
• What Basic Factors May Affect Your Editing Choices?
• The Tools
• Project Type and Genre
• Degree of Audience Manipulation
• Other Factors
• Stages of the Editing Process
• The Basic Motion Picture Transitions
• Chapter One Summation - Editing Purpose & Process
• Related Material from Chapter Eight - Working Practices
• Chapter One - Review
• Chapter One - Exercises & Projects
• Chapter One - Quiz Yourself
• Chapter Two - Understanding the Visual Material
• Basic Shot Types
• Shot Descriptions
• Shot Categories - The Increasing Complexity of Motion Imagery
• Simple Shots
• Complex Shots
• Developing Shots
• Chapter Two Summation - Camera Shots Are Your Building Blocks
• Related Material from Chapter Eight - Working Practices
• Chapter Two - Review
• Chapter Two - Exercises & Projects
• Chapter Two - Quiz Yourself
• Chapter Three - Understanding the Audio Material
• Sounds Gathered During Production
• Dialogue
• Room Tone / Natural Sound / Ambiance
• Wild Sounds
• Soundtracks (musical)
• Sounds Gathered During Post-Production
• Narration / Voiceover
• Automated Dialogue Replacement / Looping
• Ambience / Tonal Tracks
• Sound Effects / Spot Effects
• Foley Effects
• Soundtracks (music)
• Sting / Stinger
• Score
• Audio Terms You May Encounter
• Sync Sound
• Diegetic Sound
• Non-diegetic Sound
• Sound Design
• Sound Motif
• Chapter Three Summation - Sound as Emotional and Physiological Manipulation
• Related Material from Chapter Eight - Working Practices
• Chapter Three - Review
• Chapter Three - Exercises & Projects
• Chapter Three - Quiz Yourself
• Chapter Four - Assessing the Footage: Selecting the Best Shots for the Job
• Criteria for Shot Assessment
• Focus
• Framing and Composition
• Exposure and Color Balance
• Screen Direction
• 180 Degree Rule / Axis of Action
• 30 Degree Rule
• Matching Angles
• Matching Eye-line
• Continuity of Action
• Performance
• Continuity of Dialogue / Spoken Words
• Audio Quality
• Be Familiar with All of the Footage
• Chapter Four Summation - So How Does All of This Help You?
• Related Material from Chapter Eight - Working Practices
• Chapter Four - Review
• Chapter Four - Exercises & Projects
• Chapter Four - Quiz Yourself
• Chapter Five - When to Cut and Why
• What Factors Lead to Making an Edit?
• Information
• Motivation
• Shot Composition
• Camera Angle
• Continuity Sound
• Chapter Five Summation - Is There a Right or Wrong Reason for a Cut?
• Related Material from Chapter Eight - Working Practices
• Chapter Five - Review
• Chapter Five - Exercises & Projects
• Chapter Five - Quiz Yourself
• Chapter Six - Transitions and Edit Categories
• The Cut
• The Dissolve
• The Wipe
• The Fade
• The Five Major Categories of Edit Types
• The Action Edit
• The Screen Position Edit
• The Form Edit
• The Concept Edit
• The Combined Edit
• Chapter Six Summation - Does Everything Always Apply?
• Related Material from Chapter Eight - Working Practices
• Chapter Six - Review
• Chapter Six - Exercises & Projects
• Chapter Six - Quiz Yourself
• Chapter Seven - Editing Terms, Topics, and Techniques
• Additional Editing Terms
• Timecode
• Montage
• Parallel Editing
• Multi-camera Editing
• Composite Editing
• Rendering
• Chromakey
• Video Resolution
• Additional Editing Topics
• Sound Editing
• Color Correction / Color Grading
• Importing Still Images
• Digital Workflow
• Technology vs. Creativity
• Chapter Seven Summation - Old Techniques Done With New Technologies
• Related Material from Chapter Eight - Working Practices
• Chapter Seven - Review
• Chapter Seven - Exercises & Projects
• Chapter Seven - Quiz Yourself
• Chapter Eight - Working Practices
• Chapter Eight - Review
• Chapter Eight - Exercises & Projects
• Chapter Eight - Quiz Yourself
• Chapter Nine - Key Take-Aways for New Editors
• Sound and Vision are Partners
• A New Shot Should Contain New Information
• There Should Be a Reason for Every Edit
• Pacing Has a Purpose
• Observe the Action Line
• Select the Appropriate Form of Edit
• The Better the Edit, the Less it is Noticed
• Editing is Manipulation
• The Role of an Assistant Editor
• Editing is Creating
• Chapter Nine Summation - Concluding Thoughts
• Chapter Nine - Review
• Chapter Nine - Exercises & Projects
• Chapter Nine - Quiz Yourself
• Appendix A - Helpful Resources for the New Filmmaker
• Appendix B - Common Crew Members Needed for Motion Picture Production
• Appendix C - Practice Script
• Glossary
• Index.
• (source: Nielsen Book Data)

Tell more effective visual stories by learning the "grammar" of cinematic language with this elegant, accessible reference. The fourth edition of Grammar of the Edit gives you the answers to the all-important questions of when to cut and why, and teaches readers the principles behind transitions, editing for continuity, selecting the best shots, editing sound, color correction, and more. Designed as an easy-to-use guide, Grammar of the Edit presents each topic succinctly with clear photographs and diagrams illustrating key concepts, practical exercises and quiz questions, and is a staple of any filmmaker's library. New to the fourth edition: An expanded companion website offering downloadable and editable raw footage so that students can practice the techniques described in the book, and instructional videos showcasing examples of different editing choices and types of shot transitions. New and expanded quiz questions and practical exercises at the end of each chapter help test readers on their knowledge using real-world scenarios. Updated topic discussions, explanations, illustrations and visual examples. An all-new chapter on Sound resources in filmmaking and Audio Editing guidelines. Together with its companion volume, Grammar of the Shot, the core concepts discussed in these books offer concise and practical resources for both experienced and aspiring filmmakers.
(source: Nielsen Book Data)