American Graffiti, 26, 33, 34
American Zoetrope, xii, 29, 61, 63, 83
AMPS, 279
“anamorphic” squeezing, 253
Anders, Alison, 329
Andrews, Steve, 181
Anglund, Carrie, 26, 28
Anglund, Connie, 26, 28
answer prints, 302, 303, 320
Antonioni, Michelangelo, 329
Apocalypse Now, 31, 34, 60, 146, 261
Apocalypse Now Redux, 54
Apple
acquisition of Key Grip, 54–55
concerns about use of FCP for Cold Mountain, 150–151, 155
Murch’s first meeting with, 103–107, 109
Murch’s proposed barter arrangement with, 132–133
Murch’s working relationship with, 95
release of Final Cut Pro, 55
rumors about financial role in Cold Mountain, 129–130
support for Cold Mountain project, 333–334
and XML plug-in, 224–225, 233, 235, 244–245
Apple Store, 273–274
Arriflex Loc-Pro projector, 148
Association of Motion Picture Sound, 279
Atkins, Eileen, 241, 260
atmospheres, 194
audiences. See theater audiences
audio conversion problems. See sound conversion problems
audio filtering, 193, 196
audio transitions, 239
Aurora, 106, 184, 228
automatic dialogue replacement. See ADR
Avid editing system
backup support for, 61
buggy versions of, 275–276
cost considerations, 54, 109
and EDLs, 70
impact on editing assistants, 171
limitations of, 54
and long sequences, 160
Murch’s initial experience with, 54
Avid Express DV, 280
Avid Free DV, 280
AVTransfer, 133–134, 159
B
Bailey, John, 328
Ballard, Carroll, 26
Barwood, Hal, 26, 328
Battle of Petersburg, 44, 124, 210, 211, 296
Battle of the Crater, 165, 218, 297
battle scenes
cutting, 206
length of, and FCP, 160
Minghella on filming of, 148
Minghella on Murch’s editing of, 163
music for, 300, 312–313
Berger, Albert, 21, 22, 167, 228
Bernstein, Cal, 49
Bigelow, Kathryn, 29, 324
“Black Box” filmmaking, 332, 333
Black Cove Farm, 120, 124, 211, 217, 220, 254
Black Stallion, The, 26, 34
Blackberry Farm, 26, 29, 88
“blink” theory, 207–208
Blow Out, 238
Bode’s Law, 135
Bona Fide Productions, 21, 167–168
Borgenson, Linda, 114–115
Bos, Fernand, 310–311, 312, 313
Bouton, Charles, 291
Brando, Marlon, 261
Brenneis, Lisa, x, 134
Bricknell, Tim, 295–296, 303–304
“bride bed full of blood” episode, 125–126
British Film Institute, 189, 295
Broadcast Wave files, 128, 134
Bucharest, 8. See also Romania
Bug’s Life, A, 86
Bullock, Torbin, 88–91
Burnett, T-Bone, 21, 22, 228, 298, 311
Burns, Ken, 213
C
camera rolls, 150
Cannes Film Festival, 27, 329
Cantwell, Martin, 238, 291
Canvas screen, FCP, 157
Carpathian Mountains, 118
Carroll, Tim, 6
Caul, Harry, 33. See also Conversation, The
celluloid, vi, 328
CFC, 237, 254, 272, 302, 315
chain gang scene, 267
Chambre 666, 329
change lists, 72–73, 90, 159, 179, 236–237
Charleston, 16, 17
Chew, Richard, 34, 37
Christmas party scene, 304
Christopher, Tom, 98–99
Christy halogen projectors, 9
Cinecittà Studios, 32
Cinema Tools
Apple’s purchase of, 68
and change lists, 179, 197
and conform process, 236
developer of, 100
and film assembly list, 220
importance to digital editing, 76
original name of, 68
and timecode conversion, 100–101
versions, and Cold Mountain schedule, 132, 151
CinemaSports’ Film-in-a-Day event, 332–333
cinematic black box, Mephistopheles’, 332
cinematic experience, Murch’s thoughts on, 329
cinematic relativity, Minghella’s theory of, 262
Citizen Kane, 31
Civil War
and Ada-Inman relationship, 210
Ken Burns PBS series on, 213
munitions, 238
music, 298
photography, 134–135
sound effects, 291
claymation, 250
Close Encounters of the Third Kind, 26, 31
CMX system, 53
Coen brothers, 299
Cold Mountain (book)
auction for film rights, 168
best-seller status of, 167
multiple point-of-view construction in, 44
relationship with film/screenplay, 267
storytelling challenge posed by, 210
Cold Mountain (film)
admixture of love and death in, 124
attempts to cut costs for, 132–133, 134
color correction for, 254, 272, 302, 321
completing first assembly of, 192
concerns about going overtime on, 180–181
conforming process for, 236–237, 320
cutting scenes from, 169, 198, 214–217, 261
and digital intermediates, 253, 302
editing methodology for, 56
filming battle scenes in, 148. See also battle scenes
final picture cutting for, 277–281
final picture editing for, 316–326
financing of, 167, 168
first day of principal photography on, 136–137
first theatrical showings of, 223
Goldberg cans for, 4–5
“grading” print for, 302
locking of, 281
major alterations prior to last preview, 267–268
marketing campaign for, 309–310
matching digital/film versions of, 7, 236–237
Minghella/Murch editing routine for, 197
and Miramax Films, 9, 167, 168
Murch’s decision to use FCP for, 56, 79–80, 94–95, 109
Murch’s first notes to director of, 45–46
Murch’s role in, 55, 139–140
music for, 225–226, 228, 298, 310–311
origins of project, 167–171
preview screenings. See preview screenings
producers of, xi, 21, 22, 222–223
relationship with book/screenplay, 267
release date for, 30, 190
resolving problems with beginning of, 218–220, 296–298
scouting locations for, 118
screening first assembly of, 194–195, 196
script timing for, 44, 164
sound mixing for, 237–244, 287–296
story structure for, 44–45, 210
structural issues during editing of, 204–206
subtitles for, 316
and “tang” effect, 124–128, 174, 215, 263, 266
testing of equipment for, 129–131
time/space transitions in, 211–213
titles/credits for, 246, 295, 316
total film footage for, 145
violence in, 262–263
visual effects for, 230–231, 254
working
environment created by Minghella for, 158
color correction, 254, 272, 321
color-timing, 302
computer-controlled editing, 53–56, 143
Computer Film Company. See CFC
computer-generated images, 250
computer-generated special effects, 230–231
conforming process, 236–237, 320
Conversation, The, 33–43
awards/nominations, 37–38
challenges of editing, 36–37, 51
Coppola’s role in, 33–34
how toilet scene was conceived for, 42
and Murch’s on-the-fly technique, 207
Murch’s role in, 33–34, 41, 43
plot summary, 38
Conversations: Walter Murch and the Art of Editing Film, The, 30
Coppola, Francis Ford
and “5.1” sound format, 60
and computer-controlled editing, 53
and The Conversation, 33–34
early approach to filmmaking, 26
Murch on working with, 324
and Steenbeck editing machine, 51
and Zoetrope Studios, 26
corporate media, 331
Costello, Elvis, 296, 320
crabs scene, 262
Creative Artists Agency, 48
credits/titles, Cold Mountain, 246, 295
Cruise, Tom, 64, 78
crush ratio, 195, 197
cueing tones, 241–242
Cukor, George, 48
Cullen, Sean
and Avid editing systems, 61, 276
and Cold Mountain dailies, 148, 162
and Cold Mountain workflow, 100, 104, 128, 163
and DigitalFilm Tree, 68–69, 73, 74, 100
and Final Cut Pro, 63, 106
and Mac systems issues, 106
and planning for Cold Mountain, 64
and Walter Murch, 56, 60
and XML plug-in, 224
cut lists, 70
cutouts, paper, 155–156
D
D-Vision, 53
Daguerre, Jacques Mandé, 291
dailies
and Broadcast Wave format, 128
copying to DVDs, 159
purpose of, 8, 30
recording notes from, 175–177
selects vs. non-selects, 150
transferring to DV format, 67
vs. rushes, 30
Dalva, Robert, 26, 328
DAW, 238
De Lane Lea studios, 237, 241, 290, 310
De Niro, Robert, 247
De Palma, Brian, 238
deadlines, 272
“Dense Clarity—Clear Density,” Murch article on, 288
desanguination, 262
Deschanel, Caleb, 328
destructive editing, 52, 72, 143
DFT. See DigitalFilm Tree
DI process, 253, 272, 302
dialogue
adjusting volume for, 239
blending with music/effects, 238
lip-syncing, 241
premixing, 241, 286
replacing “production,” 238. See also ADR
dialogue editors, 194, 241
Dickson, W. K. L., 279
digital audio workstations, 238
digital color correction, 254, 272
digital editing, 7, 8, 76, 143, 325
digital intermediates, 253, 272, 302
DigitalFilm Tree. See also Katrib, Ramy
company history, 64–66
and Final Cut Pro, 66–67, 76, 95
how Murch team found, 63
Murch’s impact on, 75
testing of Murch’s equipment by, 129–131
and XML plug-in, 224–225, 235, 244–245
Director, Macromedia, 54
director of photography (DP), 302
directors. See film directors
distribution, film, 310, 330, 331
documentaries, 325, 328, 331
Dolby sound system, 4, 9, 31, 287
Doran, Lindsay, 167
Double Negative, 250
Douglas Fairbanks Studios, 50
Dove Films, 49
DP (director of photography), 302
Dragonslayer, 26
Dreamworks SKG, 21
Droid Olympics, 88
Dumbarton Bridge, ix
Duncan, Stuart, 298
dupe negatives, 253
Duvall, Robert, 38
DVD feature, Final Cut Pro, 159
E
E-Pix, 53
Eastman, George, 6
Eastwood, Clint, 143
edge numbers, 71
Edgewater Multiplex Cinemas, 6, 11
Edison, Thomas, 279
Edit Decision Lists. See EDLs
edit-on-the-fly technique, 157, 159, 206–207, 324
EditDroid, 53, 98
editing stations
Avid vs. FCP, 108–110
Minghella’s, 189–190
Murch’s, 129–131, 153
testing of, 129–131
editors. See film editors; sound editors
EDLs, 70, 72, 90, 253, 302
effects editors, 291
Eisner, Michael, 248–249
Election, 21
EMC, 53
Emeryville, 87
Encyclopedia Britannica Educational Films, 49
English Patient, The
editing system used for, 54
financing of, 168
how Minghella adapted book for, 124
Murch’s assistant on, 12
opening shots in, 314
shooting script for, 140
EQ (equalization), 239, 285
Evans, Robert, 272–273
explosion scene
and alternative story structures, 220
filming of, 134, 148
and Murch’s “rule of two-and-a-half,” 295
sound mix for, 300, 301, 314
visual effects for, 252
“eye on the pole” story, 174
Eyemo cameras, 148
Eyes Wide Shut, 21
F
Fairbanks Studios, 50
Fantasy Records, 95
Fassbinder, Rainer Werner, 329
FCP. See Final Cut Pro
feature filmmaking, x, 330, 334. See also filmmaking
Figgis, Mike, 329
FileMaker, 77, 105
FileMaker Pro, 144
film-based editing, 52, 143
film business, 33, 327
Film Composer, Avid, 54, 70, 275
film dailies. See dailies
film directors. See also specific directors
Murch anecdotes on specific, 324
Murch’s method of working with, 45, 120
role of, in sound mixing, 285–287, 292–293
film editing
analog vs. digital, 7, 8
combining sound mixing and, 240, 287, 292–293
computer-controlled, 53–56
destructive vs. non-destructive, 52
estimating time required for, 146
with flatbed editing system, 51–52
incorporating randomness into, 141
learning, 33
maintaining objectivity during, 12–13
Minghella/Murch routine for, 197
with Moviolas, 49–51, 171
Murch on art/technique of, 254
Murch on structural issues in, 204–206
Murch’s book on, ix, 53, 74, 207, 208–209
reducing first assembly, 196
and “rule of six,” 208–209
taking break between shooting and, 192
film editors. See also specific editors
assistants to, 170–171, 182–183
craft boundaries for, 33
and film distribution/marketing, 310
and producers, 222–223
role of, 3–4, 30–31, 139–140
skills required of, 3–4
and sound mixers, 240, 287, 292–293, 297–298
subliminal source for
creative thought in, 198
tools used by, 140–143, 155–156, 165, 171
Film-in-a-Day event, CinemaSports’, 332–333
film industry, marketing of Final Cut Pro to, 104
film production, stages of, 133
film scanners, 253
Film School, Los Angeles, 323
film school, USC graduate, 26, 48, 327–328
FilmLogic, 67
filmmaking
Antonioni on future of, 329–330
“Black Box” vs. “Snowflake,” 332–333
as collaborative effort, 330
comparison with fresco painting, 330
and digital technologies, 31, 328–333, 335
Minghella on revolution in, vi
Minghella’s general approach to, 55, 124
Murch on future of, 328–333
and studio system, 328
this book’s point of view about, x
films. See also motion pictures
analog vs. digital editing of, 7, 8
beginnings of, 296, 297
choosing music for, 226
color-timing, 302
completing first assembly of, 192
conforming process for, 236–237, 320
correcting out-of-rack, 10
dealing with problem of scale in, 155–156
discovering hidden secrets of, 314–315
distributing, 310, 330, 331
editing. See film editing
“grading” print for, 302
keeping track of bits of, 143–144
marketing campaigns for, 309–310
Minghella/Murch on finishing, 320, 321, 322
post-production activities, 250, 286
processing, 30
shooting, 140
shooting ratio for typical, 71
splicing, 8–9, 10
“spotting,” 238
tailoring to specific audiences, 331–332
testing, 15–16. See also preview screenings
trial-and-error nature of printing, 303
trimming, 146
Final Cut Express, 334
Final Cut Pro
and ADR sessions, 242–243
advantages of, 73, 74, 91, 93, 109, 325
and Apple. See Apple
and assistant editors, 170–171, 182–183
and audio filtering, 193, 196
and “Black Box” filmmaking, 333
and change lists, 90, 159, 179, 236–237
and CinemaSports’ Film-in-a-Day event, 332
cost considerations, 73, 109, 110, 331
cutting sound in, 92
deleting empty audio tracks in, 160–161
and DigitalFilm Tree. See DigitalFilm Tree
DVD feature, 159
early versions of, 61–63
and EDLs, 70, 90, 253
equipment required for editing with, 109, 114
first attempts at editing film with, 67–68, 74, 98
and frame-accurate stopping, 157
getting sound from, 102–103, 159, 221, 234
graphics/titling functions, 316
logging footage in, 100–101
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