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| Acknowledgments | |
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| Introductions | |
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| Who Am I and Why Did I Write This Book? | |
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| Interview with Tom Rolf | |
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| Goals of the Book | |
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| Who Might Enjoy Reading This Book? | |
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| How to Use This Book | |
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| Topics Not Discussed | |
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| Gathering the Editor's Tools | |
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| "You" | |
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| The Personal Quiver | |
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| The Joy of Journals, Concept Maps, and Research | |
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| Improving Visual Literacy | |
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| Getting to Know Pace and Rhythm | |
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| Gathering Patience and Understanding Politics | |
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| The Tale of Michael Horton--the Actor Turned Editor | |
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| "The Stuff" | |
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| The Equipment Rucksack | |
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| The Right Tools for the Job | |
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| Exercise--Tools I'd Like; Tools I Need | |
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| Outside Resources | |
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| Planning the Process | |
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| Pre-Postproduction | |
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| Budgeting Time and Personnel | |
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| Logging and Suggested Bin Structures | |
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| Initial Assembly | |
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| First Rough Cut | |
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| Breaks and Reviews | |
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| Understanding the Role of the Nervous Breakdown | |
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| Interview with Mary Sweeney | |
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| First Fine Cut | |
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| Note on Family and Lovers | |
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| Exercise--The Time Spreadsheet | |
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| CD and Outside Resources | |
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| Giving Respect Where Respect Is Due | |
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| Script as Architecture | |
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| Directorial Intent | |
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| Camera Angles and Movement | |
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| Reading the Light | |
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| Reading the Actor | |
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| Historical Evolution of Editing Theory and Dawn of Digital Cinema | |
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| Interview with David Emrich | |
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| Exercise--Predicting Flow | |
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| Outside Resources | |
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| Gathering Around the Campfire | |
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| Stories and Their Purpose | |
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| In the Beginning | |
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| Nine Main Myths | |
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| Campbell and the Hero's Journey | |
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| The Editor's Role as Storyteller | |
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| Exercise--The Visual Story of Your Life | |
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| CD and Outside Resources | |
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| Overcoming Story Problems | |
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| Problems of Plot | |
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| Interview with Philip Taylor | |
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| Problems of Character | |
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| Image at the Heart | |
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| Exercise--Scene Breakdown | |
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| CD and Outside Resources | |
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| Tripping on Transitions | |
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| End-desired Structure | |
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| Building Blocks of Drama for the Editor | |
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| Shot, Scene, Sequence | |
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| Discovering the Beat | |
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| The Art of Revelation | |
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| Six Elements of an Edit, Treatment, and Dmytryk's Rules | |
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| Transitions | |
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| Interview with Jon Mauldin | |
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| Search for the Invisible Edit | |
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| Power of Comics | |
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| Exercise--Identifying Transition Types | |
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| CD and Outside Sources | |
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| Color and Composition | |
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| Meaning of Color and Visual Design | |
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| Chad's story | |
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| Seeing an image from a color blind perspective | |
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| The Color Wheel and Relationships | |
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| Interview with Kane Platt | |
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| Color as Actor | |
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| Rule of Thirds | |
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| The math of the golden mean | |
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| Depth and Position | |
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| Shading and Texture | |
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| Core Shapes and Movement | |
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| Central Point of Interest | |
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| Exercise--A Trip to the Art Museum | |
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| CD and Outside Resources | |
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| Compositing and the Editor | |
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| Editing in the Vertical Plane | |
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| Keys and Their Application | |
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| Interview with David Baud | |
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| Weight and Meaning | |
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| Form, Text, and Meaning | |
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| Importing Logos and EPS Files | |
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| Experimentation and Discovery | |
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| Keeping the Ego in Check | |
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| Exercise--Collage Work | |
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| CD and Outside Resources | |
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| Dynamic Sound | |
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| Sound as Character | |
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| Invisible Sound | |
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| Elongating and Enlarging Sound Effects | |
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| Tone and Pitch | |
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| The Sound of Vietnam | |
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| Balance | |
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| Equalization | |
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| Preparing for the Composer | |
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| Purpose of the Mix | |
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| Preparing for the Mix | |
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| Exercise--Lynch and Badalamenti | |
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| CD and Outside Resources | |
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| How Do I Break In? | |
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| Getting to Know You | |
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| What's Required? | |
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| To Freelance or Take the Position? | |
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| Resumes, Phone Calls, and Rejection | |
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| Who Actually Hires? | |
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| Who You Know and Who Knows You | |
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| Resources for Jobs | |
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| Interview with Rick Kent | |
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| Exercise--Resume Preparation and Personal Mission Statements | |
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| Outside Resources | |
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| Clients and Chaos | |
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| Who's Paying the Bills? | |
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| Converting Conflict to Collaboration | |
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| Educating the Client | |
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| Handling Criticism | |
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| Educating and Maintaining Yourself | |
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| Look After Yourself | |
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| Buying Time to Care | |
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| Exercise--Strengths and Weaknesses | |
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| CD and Outside Resources | |
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| Conclusions and Continuity | |
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| The Path of the Craft | |
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| How to Learn | |
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| What to Look for in a Project | |
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| For Love or Money? | |
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| Interview with Elizabeth Rufenacht | |
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| Moving to the Next Tool | |
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| Moving to the Next Job | |
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| Exercise--Two-Year Plan | |
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| Outside Resources | |
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| Useful Lists | |
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| General Editing "Rules" | |
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| Preparing for Post--A General Guide | |
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| Avid Media Composer Tips and Power Plays | |
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| Media 100 Tips | |
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| Final Cut Pro Quick Tip Sheet | |
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| Bin Examples | |
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| Job Flow Sheet | |
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| Compositing Worksheet | |
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| Story Structure Questions | |
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| Databases | |
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| Internet Considerations | |
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| 2:3 Pulldown Explained | |
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| General Editing Book References | |
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| Freedom vs. Responsibility: The Freelancer | |
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| What's on the CD? | |
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| Exercises | |
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| Image Files | |
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| Mac Classic Software | |
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| Mac OS X software | |
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| Palm DB folder | |
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| Photoshop Goods | |
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| Sound Files | |
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| Totally Hip Software | |
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| Useful Documents | |
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| Windows Software | |
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| Index | |