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The Long Game - Teaser Trailer from zee on Vimeo.

A former criminal's road to redemption is tragically shattered when the love of his life is brutally murdered for what seems like no reason at all. Suddenly, a mysterious woman pops up in his life, offering friendship, a way to vengeance, and paradoxically, his old self.

Written, Directed, Edited by Mustafa Abbas Cinematographer : Ziad Oakes

One Woman Show - Karima Mansour from Seif Abdalla on Vimeo.

One Woman Show: Episode Three, The Sublime Karima Mansour

This episode is very special to me as I got to know and work closely with Karima, a pioneer and visionary of our time in contemporary dance and one of the founders of the dance scene in Egypt.

Production house Axeer Executive producer AbdulRahman Elgarawany Director Seif Abdalla Producer RaMy Tarek Assistant Producer Ziad Shaban Dp Amr Nazeer Post Producer Ahmed Khalid Youseif Editing, Coloring Ammar nabil Stylist Reem Salama Creative Shaimaa Elgawady Mixing Fady Garas

Understanding The Purpose of The Score from Inside The Edit on Vimeo.

Harnessing the power of perfect music selection by studying the meaning and purpose of our score is an essential preliminary thought process in high end editing. Our latest tutorial is now live at insidetheedit.com

Paris 9/19 from rcjohnso on Vimeo.

Shot with the iPhone 11 Pro

TIME Remembers: The Day the Berlin Wall Fell from TIME Video on Vimeo.

'1989 was a year no one expected to be very interesting, and it turned out to be just revolutionary'

Banana Republic from Khalid Mohtaseb on Vimeo.

Dir: Stephanie Di Giusto DOP: Khalid Mohtaseb Production: Insurrection Paris Shot on Sony Venice w/ Master Anamorphics

TOP BOY 'Portrait of A Top Boy' from Salomon Ligthelm on Vimeo.

Executive Producer: Drake Production Company: Stink Producer: Tom Farley DP: Nicolas Karakatsanis Agency: Livity Creatives: Janak Jani, Tonali Shoneye Agency Producer: Alice McDonnell Creative Director: James Hogwood VFX: The Mill Editor: Ben Crooke at Speade Color: Mikey Rossiter Music: Brian Eno, Michael Assante

WEEKND 'Privilege' from Salomon Ligthelm on Vimeo.

GREY GOOSE 'We Live, We Speak' from Salomon Ligthelm on Vimeo.

Agency: BBDO DP: Stuart Winecoff Music: Ryan Taubert, Salomon Ligthelm

Klynt Made 2015: The Man who sells Samosa and you most probably ate one! from Honkytonk Films on Vimeo.

Samir and his family run a small shop in Dubai creek side selling snacks for around 50 years.

This video documented by our workshop participants, the history of place and people working for him, the creek environment and surrounding with eye on future development happening in Dubai creek side.

Producer: Hassan Kiyany

kiyany.com/samosa

Bahraini Cowboys - Welcome to the Wild Wild East from Brett Turner on Vimeo.

WALTER MURCH: Editing Tips from the Cutting Room from MAKING THE CUT on Vimeo.

Legendary film editior Walter Murch in his edit suite cutting 'Cold Mountain'.

Walter Murch’s work as a film editor and sound designer is vital to the history of cinema and he has some serious wisdom to impart to any film and video maker.

"Editing is almost like making little pieces of jewellery, that patience of the Individual Shots, and how they're crafted together. You need an appreciation for how these shots fit in with the larger picture on the scene, then how the scene fits into the larger picture of the sequence, and how the sequence fits into the larger picture of the whole work, and then how the work fits together with society. Boxes within boxes, within boxes".

"Film editing is a dance of eyes". "SOmething about film, because of its sensory completeness, Sound and image in this powerful fusion gets at something deep within us".

Murch’s “Rule of Six” is a nice hierarchical breakdown to keep in mind when deciding upon where to make a cut, and lists the decision-making factors in this order:

Emotion (51%) Story (23%) Rhythm (10%) Eye-Trace (7%) Two-Dimensional Plane of Screen (5%) Three Dimensional Space of Action (4%)

SERGIO LEONE Compilation | THE LEGEND from MAKING THE CUT on Vimeo.

Sergio Leone Italian film director, producer and screenwriter, credited as the inventor of the Spaghetti Western genre and widely regarded as one of the most influential directors in the history of cinema.

Leone's film-making style includes juxtaposing extreme close-up shots with lengthy long shots. His movies include the Dollars Trilogy of Westerns featuring Clint Eastwood: A Fistful of Dollars (1964), For a Few Dollars More (1965) and The Good, the Bad and the Ugly (1966); and the Once Upon a Time films: Once Upon a Time in the West (1968), Duck, You Sucker! (1971) and Once Upon a Time in America (1984).

Since his death in 1989, Leone’s films have become something of a template for directors wishing to imbue their self-conscious use of genre iconography with a sense of dream-like nostalgia for imaginary lost times. But few filmmakers have matched Leone’s skill at deconstructing Hollywood dreams while at the same time retaining a melancholy longing for their revalidation. Although he remains a controversial figure in critical circles, his stylistic influence is everywhere in ’90s American cinema, from Back to the Future Part III (Robert Zemeckis, 1990) to the work of Quentin Tarantino and his associate Robert Rodriguez. Leone-like imagery and Morricone-sounding scores have formed the basis of countless television commercials – surely the final proof that his stylistic traits are now firmly entrenched in the lexicon of cinematic clichés. His Spanish-flavoured images of the Western frontier, dramatic flourishes and prolonged pauses have become a thoroughly internalised part of the Western genre’s iconography. The Leone style, some forty years after he made his first Western, has become absorbed into the same mythology of twentieth century cinema to which so much of his work was devoted to exploring.

ACE FILM EDITOR WALTER MURCH EXPLAINS 'RULE OF SIX' from MAKING THE CUT on Vimeo.

Murch approaches editing by looking beyond basic human instinct; he, quite seamlessly, integrates technology and neurology into his thesis. Art borders on a kind of science: a medium that is measurable and testable, with unlimited room for expansion insofar as it obeys certain well-established laws.

Experimentation is encouraged and in fact, necessary – there are rules that an artisan must consider when in the cutting room. Murch breaks these “rules” down into SIX CATEGORIES, assigning each individual one with a percentage of value proportionate to the whole. The six rules a) enumerate the specific ways a CUT is motivated and b) quantify what makes a good cut.

Murch’s rules are terse, leaving plenty of room for experimentation. His rules should be seen as guidelines. After all, Murch admits that The Rule of Six is ultimately a personal choice: “An ideal cut (for me) is the one that satisfies the following six criteria at once.” And that criteria is...

RULE NUMBER ONE: Emotion (51%) Murch asks: how do you want the audience to feel?

Murch views Emotion as an invaluable resource. Without it, your movie is in trouble. If your work has a through line of emotion that is true to what you intended your audience to feel, then “you have done about as much as you can ever do.” The key point here: the audience should always be first in an editor’s mind.

Murch is after a sort of expressionism when he explains that an emotional cut should take precedence over a cut that’s only meant to preserve the continuity of the narrative.

RULE NUMBER TWO: Story (23%) Murch asks: does the edit move the story forward in a meaningful way?

This is essential. A story must be dynamic. There must be motion behind it; an underlying force hurdling the events forward. If the cut does not advance the narrative or make the audience feel they just put one foot forward, then that’s trouble. Emotion and Story, Murch submits, are the most important. He leaves what tangibly moves a story forward up to the editor. All he asks is the editor’s decision be “interesting” and “unique”.

RULE NUMBER THREE: Rhythm (10%) Murch asks: is the cut at a point that makes rhythmic sense?

One can assume that the reason why the last four rules are of less priority is not because they aren’t important, but because they are implicitly (but nonetheless vitally) linked to Emotion and Story. Murch likens them to “the bonds between the protons and neutrons in the nucleus of the atom.” He states that an editor should use an emotional cut if it serves the story AND the rhythm. If the rhythm is there, the audience will become unaware (or unconcerned) of lapses in continuity or the 180-degree rule.

RULE NUMBER FOUR: Eye Trace (7%) Murch asks: how does the cut affect the location and movement of the audience's focus in the frame?

A cut must not disorient the viewer, to the extent that their eyes cannot comprehend the action. Action movies tend to be the main offenders of this rule, mainly because they must account for so much hyper-kinetic movement to keep up with the pace of the events. Writers will often resort to a cliché like “MTV Style” editing to describe a movie, TV show, or music video that fails to maintain this fourth rule. If an editor employs Eye Trace, this will likely minimize issues with the last two rules, which are...

RULE NUMBER FIVE: Two Dimensional Plane of Screen (5%) Murch asks: is the axis followed properly?

If not, don’t fret. Remember: Yasujiro Ozu’s visual style made its name off breaking the axis. That said, a filmmaker/editor should learn the rules first before breaking them, or “crossing the line”. First, one must respect, what Murch calls, “planarity”: the grammar of three dimensions transposed by photography to two.

RULE NUMBER SIX: Three Dimensional Space (4%) Murch asks: is the cut true to established physical and spacial relationships?

Up until the 1960s, these last two rules would have been sacrosanct in Hollywood. The reason being that classical style, the leading editing style of the golden age, depended on clean continuity and clarity of space. Rule Five and Six are to be followed if the editor intends to craft a movie or TV show that truly falls under invisible art. The editor is to maintain a certain fidelity to the mise-en-scène – where sets, props, actors etc. are located. Once established, the space should not change. But there are many exceptions to this rule, thus is why Murch puts this rule at the bottom of the list.

GREAT READ: Walter Murch 'In the Blink of an Eye'.

AOTG: aotg.com

ACE FILM EDITOR WALTER MURCH - ON MATCH CUTTING from MAKING THE CUT on Vimeo.

Pioneering film editor and sound designer Walter Murch was born in 1943 in New York City and studied at the University of Southern California’s film school. Murch’s launched his career with Francis Ford Coppola’s The Rain People (1969). He has since worked as film and sound editor for numerous others, including American Graffiti (1973), The Godfather: Part II (1974), The Conversation (1974), Apocalypse Now (1979), for which he won an Oscar, The English Patient (1996), which won him a double Oscar in both film and sound editing, and Jarhead (2005), among others. Murch also directed Return to Oz (1985) and helped work on the restoration of Orson Welles’s classic Touch of Evil (1998). Murch has written a book on film editing, In the Blink of an Eye: A perspective on film editing (1995), and is the subject of two collections: The Conversations: Walter Murch and the Art of Editing Film (2002) by Michael Ondaatje, and Behind the Seen (2005), by Charles Koppelman. In addition to film, Murch’s interests include Italian literature, and he has translated the work of Italian writer Curzio Malaparte.

Stranger Things 2 - 25 Creative Transitions from Zackery Ramos-Taylor on Vimeo.

A video essay highlighting 25 creative transitions involving sound and match cuts from Stranger Things 2 (Netflix TV series).

Edited by Zackery Ramos-Taylor

No Film School nofilmschool.com/2017/11/watch-25-creative-transitions-from-stranger-things-2

il Post ilpost.it/2017/11/08/stranger-things-2-domande-curiosita/

DIY Photography diyphotography.net/25-creative-transitions-stranger-things-will-inspire-filmmaking/

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

Beauty of a Stateless Mind from Lutiaswan on Vimeo.

a poetic documentary based on a series of artists in calais 'jungle' refugee camp. as a student film we were given a unique insight into the sensitive lives of these displaced people and their inner thoughts. this documentary has been selected to showcase with national geographic's short film showcase.

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