Vsevolod Pudovkin acclaimed that the alteration activity is the one appearance of assembly that is absolutely altered to motion pictures. Every added aspect of blur authoritative originated in a altered average than blur (photography, art direction, writing, complete recording), but alteration is the one activity that is altered to film.citation needed Kubrick was quoted as saying: "I adulation editing. I anticipate I like it added than any added appearance of blur making. If I capital to be frivolous, I ability say that aggregate that precedes alteration is alone a way of bearing blur to edit."4
Edward Dmytryk stipulates seven "rules of cutting" that a acceptable editor should follow:5
"Rule 1: Never accomplish a cut after a absolute reason."
"Rule 2: Back ambivalent about the exact anatomy to cut on, cut continued rather than short."6
"Rule 3: Whenever accessible cut 'in movement'."7
"Rule 4: The 'fresh' is bigger to the 'stale'."8
"Rule 5: All scenes should activate and end with continuing action."9
"Rule 6: Cut for able ethics rather than able 'matches'."10
"Rule 7: Substance first—then form."11
According to Walter Murch, back it comes to blur editing, there are six capital belief for evaluating a cut or chief area to cut. They are (in adjustment of importance, best important first, with abstract allotment values.):
Emotion (51%) — Does the cut reflect what the editor believes the admirers should be activity at that moment?
News (23%) — Does the cut beforehand the story?
Rhythm (10%) — Does the cut activity "at a moment that is rhythmically absorbing and 'right'" (Murch, 18)?
Eye-trace (7%) — Does the cut pay account to "the area and movement of the audience's focus of absorption aural the frame" (Murch, 18)?
Two-dimensional even of the awning (5%) — Does the cut account the 180 amount rule?
Three-dimensional amplitude of activity (4%) — Is the cut accurate to the physical/spatial relationships aural the diegesis?
Murch assigned the abstract allotment ethics to anniversary of the criteria. "Emotion, at the top of the list, is the affair that you should try to bottle at all costs. If you acquisition you accept to cede assertive of those six things to accomplish a cut, cede your way up, account by item, from the bottom."-Murch
Edward Dmytryk stipulates seven "rules of cutting" that a acceptable editor should follow:5
"Rule 1: Never accomplish a cut after a absolute reason."
"Rule 2: Back ambivalent about the exact anatomy to cut on, cut continued rather than short."6
"Rule 3: Whenever accessible cut 'in movement'."7
"Rule 4: The 'fresh' is bigger to the 'stale'."8
"Rule 5: All scenes should activate and end with continuing action."9
"Rule 6: Cut for able ethics rather than able 'matches'."10
"Rule 7: Substance first—then form."11
According to Walter Murch, back it comes to blur editing, there are six capital belief for evaluating a cut or chief area to cut. They are (in adjustment of importance, best important first, with abstract allotment values.):
Emotion (51%) — Does the cut reflect what the editor believes the admirers should be activity at that moment?
News (23%) — Does the cut beforehand the story?
Rhythm (10%) — Does the cut activity "at a moment that is rhythmically absorbing and 'right'" (Murch, 18)?
Eye-trace (7%) — Does the cut pay account to "the area and movement of the audience's focus of absorption aural the frame" (Murch, 18)?
Two-dimensional even of the awning (5%) — Does the cut account the 180 amount rule?
Three-dimensional amplitude of activity (4%) — Is the cut accurate to the physical/spatial relationships aural the diegesis?
Murch assigned the abstract allotment ethics to anniversary of the criteria. "Emotion, at the top of the list, is the affair that you should try to bottle at all costs. If you acquisition you accept to cede assertive of those six things to accomplish a cut, cede your way up, account by item, from the bottom."-Murch
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