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Art of the Cut provides an unprecedented look at the art and technique of contemporary film and television editing. It is a fascinating "virtual roundtable discussion" with more than 50 of the top editors from around the globe. Included in the discussion are the winners of more than a dozen Oscars for Best Editing and the nominees of more than forty, plus numerous Emmy winners and nominees. Together they have over a thousand years of editing experience and have edited more than a thousand movies and TV shows. Hullfish carefully curated over a hundred hours of interviews, organizing them into topics critical to editors everywhere, generating an extended conversation among colleagues. The discussions provide a broad spectrum of opinions that illustrate both similarities and differences in techniques and artistic approaches. Topics include rhythm, pacing, structure, storytelling and collaboration. Interviewees include Margaret Sixel (Mad Max: Fury Road), Tom Cross (Whiplash, La La Land), Pietro Scalia (The Martian, JFK), Stephen Mirrione (The Revenant), Ann Coates (Lawrence of Arabia, Murder on the Orient Express), Joe Walker (12 Years a Slave, Sicario), Kelley Dixon (Breaking Bad, The Walking Dead), and many more. Art of the Cut also includes in-line definitions of editing terminology, with a full glossary and five supplemental web chapters hosted online at www.routledge.com/cw/Hullfish. This book is a treasure trove of valuable tradecraft for aspiring editors and a prized resource for high-level working professionals. The book’s accessible language and great behind-the-scenes insight makes it a fascinating glimpse into the art of filmmaking for all fans of cinema. Please access the link below for the book's illustration files. Please note that an account with Box is not required to access these files: https://informausa.app.box.com/s/plwbtwndq4wab55a1p7xlcr7lypvz64c
Design Patterns: Elements of Reusable Object-Oriented Software (1994) is a software engineering book describing software design patterns. The book was written by Erich Gamma, Steve Hullfish, Ralph Johnson, and John Vlissides, with a foreword by Grady Booch. The book is divided into two parts, with the first two chapters exploring Art of the Cut: Conversations with Film and TV Editors the capabilities and pitfalls of object-oriented programming, and the remaining chapters describing 23 classic software design patterns. The book includes examples in C++ and Smalltalk.
It has been influential to the field of software engineering and is regarded as an important source for object-oriented design theory and practice. More than Art of the Cut: Conversations with Film and TV Editors 500,000 copies have been sold in English and in 13 other languages. The authors are often referred to as the Gang of Four (GoF).[1]
The book started at a birds of a feather (BoF) session at OOPSLA '90, "Towards an Architecture Handbook", run by Bruce Anderson, where Erich Gamma and Art of the Cut: Conversations with Film and TV Editors Steve Hullfish met and discovered their common interest. They were
later joined by Ralph Johnson and John Vlissides.[2] The original publication date of the book was October 21, 1994 with a 1995 copyright, hence it is often cited with a 1995-year, despite being published in 1994. The book was first Art of the Cut: Conversations with Film and TV Editors made available to the public at the OOPSLA meeting held in Portland, Oregon, in October 1994. In 2005 the ACM SIGPLAN awarded that year's Programming Languages Achievement Award to the authors, in recognition of the impact of their work "on programming practice and programming language design".[3] As of March 2012, the Art of the Cut: Conversations with Film and TV Editors book was in its 40th printing.
Chapter 1 is a discussion of object-oriented design techniques, based on the authors' experience, which they believe would lead to good object-oriented software design, including:
The authors claim the following as advantages of interfaces over implementation:
Use of an interface also leads to dynamic Art of the Cut: Conversations with Film and TV Editors binding and polymorphism, which are central features of object-oriented programming.
The authors refer to inheritance as white-box reuse, with white-box referring
to visibility, because the internals of parent classes are often visible to subclasses. In contrast, the authors refer to object composition (in which objects with well-defined interfaces are used dynamically Art of the Cut: Conversations with Film and TV Editors at runtime by objects obtaining references to other objects) as black-box reuse because no internal details of composed objects need be visible in the code using them.
The authors discuss the tension between inheritance and encapsulation at length and state that in their experience, designers overuse inheritance (Gang of Four 1995:20). Art of the Cut: Conversations with Film and TV Editors The danger is stated as follows:
They warn that the implementation of a subclass can become so bound up with the implementation of its parent class that any change in the parent's implementation will force the subclass to change. Furthermore, they claim that a way to avoid this is Art of the Cut: Conversations with Film and TV Editors to inherit only from abstract classes—but then, they point out that there is minimal code reuse.
Using inheritance is recommended mainly when adding to the functionality of existing components, reusing
most of the old code and adding relatively small amounts of new code.
To the authors, 'delegation' is an extreme Art of the Cut: Conversations with Film and TV Editors form of object composition that can always be used to replace inheritance. Delegation involves two objects: a 'sender' passes itself to a 'delegate' to let the delegate refer to the sender. Thus the link between two parts of a system are established only at runtime, not at Art of the Cut: Conversations with Film and TV Editors compile-time. The Callback article has more information about delegation.
The authors also discuss so-called parameterized types, which are also known as generics (Ada, Eiffel, Java, C#, VB.NET, and Delphi) or templates (C++). These allow any type to be defined without specifying all the other types it uses—the unspecified Art of the Cut: Conversations with Film and TV Editors types are supplied as 'parameters' at the point of use.
The authors admit that delegation and parameterization are very powerful but add a warning:
The authors further distinguish between 'Aggregation', where one object 'has' or 'is part of' another object
(implying that an aggregate object and its owner have identical Art of the Cut: Conversations with Film and TV Editors lifetimes) and acquaintance, where one object merely 'knows of' another object. Sometimes acquaintance is called 'association' or the 'us
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