The Eye Is Quicker: Film Editing: Making a Good Film Better

by Richard D. Pepperman

Book Overview

The most comprehensive book on the principles, methods, and strategies vital to the creative art of film editing.

• Format: Paperback
• Language: English
• ISBN: 0941188841
• ISBN13: 9780941188845
• Release Date: March 2004
• Publisher: Michael Wiese Productions
• Length: 350 Pages
• Weight: 1.25 lbs.
• Dimensions: 0.6" x 7.0" x 10.1"

Customer Reviews

How to tell a great story

This book is truely a rare find. I was looking for a book on editing that would explain how to visually communicate a great story through editing, a book that would tell me more than just the history of editing or the techniques of operating the Avid or Final Cut Pro. The Eye is Quicker thoroughly goes through the rationale, the reasons why you make or don't make a cut. Using several examples from films. But more importantly this book provides you with the knowledge how to enhance the story, or how to transfer the dailies into a story. The beauty of editing is that one is essentially providing the last rewrite of the script and the beauty of The Eye is Quicker is that it gives you the fundamentals how to enhance(edit) the story(movie).

Detailed and comprehensive

This is the kind of books I enjoy reading.I am not a professional filmaker or editor, but as I like to know all the details behind everything I wanted a book to cover the most important theory (not techniques or tools) about film editing.I really felt as this book "revealed" some secrets that most of us (I mean ,the amateurs) simply ignore. It explains all those facts that makes you perceive films as good/average/bad in such a detailed way, that most of the times you will run to watch your favourite film to see if he is right , and believe me , he is deadly right! By using all this theory and these invisible tricks he describes you cannot only make scenes look good (even if they are not) , your whole film will look even better and finally acquire that magic ingredient that you can "feel" on good films but you cannot actually identify what it is. The most importnat thing is, that it gives you the power to quide your viewer eyes at exaclty where you want him to look and see exactly what you want him to see, which can greatly affect the way your material is communicated to your audience. The only "drawback" after reading this book ,is that your eyes are more trained in identifying "bad edits" in the films you are watching , but I think we can leave with it !!! I think that such good books should be on every filmaker's hand.

Learning from a great teacher

I just finished reading this book cover to cover, and I must say it has truly been one of the most inspirational books I've read in quite some time. After high school I spent approximately 18 months studying things like editing, graphic design, motion graphics, etc... That period of time was no doubt invaluable, but lately it feels as though I'm drowning in tutorials and software features. I set out to find the best book on editing, not as a series of mouse clicks, but as a way to approach filmmaking. I'm glad to say I've found that book ...The Eye is Quicker. I was particularly delighted to discover that the author is also a teacher. I've found that those who have an excellent resume don't necessarily understand how to "pass on essential knowledge" as this author does. Being a college-age, young editor myself, I was particularly drawn to the comments about frequent pitfalls he sees in his students. I truly felt like I was learning from someone with tremendous experience who genuinely wants to teach others.

Learn Editing from a Professional Editor & Teacher

Can film editing be learned from a book? Not really. Can film editing theory be learned from a book? Probably, and Richard D. Pepperman's The Eye is Quicker is as good a place to start as any. Film editing seen through the eyes of Pepperman is fresh and dynamic and alive. His tone is personal, humorous and engaging, taking tech books out of the realm of dry and removed tomes we're forced to read for edification purposes, and transforming them into something we actually enjoy reading. At least once per chapter, I found myself wanting to rush out and edit something, anything. The strength of The Eye is Quicker lies in the fact that Pepperman himself is a longtime teacher and knows how to present his craft in a way that students can connect with. His aim with this book is to bring editing back to the basics, instead of all about new technology hyped bells and whistles. He opens with a statement that I think best sums up his intentions: "I'm concerned that the tradition of passing on essential knowledge from an experienced mentor to new assistants and apprentices might be lost and `replaced?by tool-intensive training alone. I hope this book can help preserve that vibrant, more complete way of learning.? Pepperman manages to employ an anecdotal tone that only the best educators ever manage to carry off. Like all good teachers, he partially holds your hand and coddles you, while simultaneously challenging you to jump off the precipice into the unknown and have faith in your own abilities. Pepperman reveals himself as a person first, allowing the reader to become comfortable with him, and then he gets into the mechanics of his subject. He makes editing into a life view, rather than simply a cut and paste exercise. He humanizes editing, making it more about instinct than precision. By the end of this book, you begin to view editing as a way of being and seeing the world, not simply as a nine-to-five job performed by rote using a set of basic principles. Don't get me wrong, the basics are offered in this book. Things that every film student learns in Editing 101. Pepperman also includes a list of Nine Key Codes that all editors should constantly keep in mind and strive to remain true to. He also supplies specific movie references that the editing student can turn to for examples. This makes his teachings more concrete and tangible, taking his book from a one dimensional study of a two dimensional discipline to a more complete representation of editing. He supplies countless frame by frame pictures to illustrate the differences in cuts and their impact on the finished films. My only problem with this approach is that it's still too static for a visual medium such as film. At times, I found it difficult to visualize the cuts just by seeing the storyboard pictures alone. Books on film, especially on editing, should come standard with interactive CD's or DVD's. Each chapter begins with a perfectly placed quote that adds layers of

Independent Film & Video Monthly

THE EYE IS QUICKER is not just a book for editors; it is a book for filmmakers. Pepperman's sensibility might easily lend itself to directors looking to compose a shot or to writers trying to make a clean transition.Pepperman states that editing should remain simple, though it isn't easy to keep it as such, and his book heeds its own advice. The writing is concise and straightforward, and his anecdotes are well chosen. Pepperman sets out to explain the mindset and acquired skills necessary for an editor, and then takes his reader through the various techniques. While examples from films (both Hollywood, and student features) comprise the bulk of the text, Pepperman includes bolded Tips and Hints throughout, so a discerning or hurried reader can skip around. ...[T]o Pepperman's credit the book's tone keeps pace at a steady linear clip, and the illustrations by Mark Pacella elucidate many of Pepperman's finer points...Alyssa Worshaw