Book Description
For the first time since Charles Clarke's 1980 edition, the AC Manual has been edited by a professional cinematographer. The completely revised 9th edition offers contributions from experts with more than 100 years of motion-picture experience. Its features include:
• More than 30 new charts, including lighting intensities for more than 90 fixtures.
• A completely revised camera section, rewritten by Jon Fauer, ASC
• A new article on digital intermediates by Bill Feightner and Robert L. Eicholz of EFilm
• Warner Bros. executive Rob Hummel's update of his classic "pros and cons" chapter, which now includes the latest digital postproduction techniques
• A new chapter on hanging miniatures by visual-effects wizard Dan Curry
• "Tak's tips" from Panavision lens expert Tak Miyagishima
• The most extensive section yet on motion-picture formulas, written by Evans Wetmore, vice president of advanced engineering at 20th Century Fox
• A revised chapter on motion-control by visual-effects legend Richard Edlund, ASC, who has included the latest updates on digital technology
Customer Reviews:
Absolutely Invaluable!.......2006-03-22
As a graduating film student who is working on a thesis film, I have come to rely solely on this manual. It has absolutely every bit of information that any aspiring filmmaker could need. I've come to call it my "Bible" of filmmaking. Check it out! You won't regret it!
Hey, it's the "Cinematographer's Bible", you can't do without.......2006-01-27
Anybody who plans on working with REAL film should own this, learn it, know portions of it backwards and forwards and use it to their advantage.
It basically answers ANY questions you may have concerning principal filmmaking, and some very help hints when trying to accomplish various optical and special effects in camera.
Get it, or suffer the consequences.
The Cinematographer's Bible.......2005-03-04
Also known as "The Cinematographers Bible", this thick hand-sized pocket book is an absolute must for anybody who owns or uses a 16mm, Super 16mm, 35mm, Super 35mm or 70mm motion picture camera (movie cameras). IT WILL NOT TEACH YOU CINEMATOGRAPHY! It is a technical manual to be used when shooting on film and has since become the industry standard book that most amateur and professional cinematographers own and use. Motion pictures cameras are also built around the specifications laid down in this book.
Essentially the first 100 pages deal with all the different types of motion picture cameras, their internal mechanisms, technical details and threading paths. Then the book goes on to dealing with motion picture film itself, the various brands that are available, differences between black and white, color and a bit about the development process of each one. Again, technically detailed. There is also very valuable charts on film lengths and running times according to fps. The lens section is very technical covering the different types of lenses and the most important focal length, distance to subject, measuring charts that is really the most widely used part of this book. There is a massive section on filters, exposure and emulsion testing.
The book then deals with lighting and covers the various aspects of lighting types, bulbs, filters and exposure techniques, all highly technical in nature with references to charts and illustrations. The book ends with a coverage of visual special effects that can be done with the motion picture camera and other special techniques that the cinematographer will need to know about.
You will need this book if you are shooting on film, end of story. If you are looking for a manual that teaches cinematography then choose CINEMATOGRAPHY by Kris Malkiewicz instead. As a note, there is a lot of new digital cinematography cameras on the up and coming that work on digital video tape and not film and many new filmmakers may be advised to check out this route as a cheaper and less costly way of shooting their first film.
Customer Reviews:
Film: A Critical Introduction.......2007-09-12
Great book for a humanities class! I recommend it.
Great into to Cinema! Delivery quick and good condition.
A Superior, Well-Developed, Introductory Text . . ........2007-01-29
Whether you are a student or professor, there are a wide range of introductory film texts from which to choose -- it can be a bit overwhelming and a mistake is costly! This is especially true if you are the professor who is selecting an expensive text for your students (and they are all expensive) . . . you want provide them with a text worthy of the expense AND you do not want to invest additional hours photocopying material from other texts to compensate for less-than-fantastic chapters.
With this in mind, allow me to say that Pramaggoire and Wallis' text is the best I have ever encountered . . . bar none. I have used this text for over a year now, and the response has been extremely positive. It may initially seem irrelevant, but this text is extraordinary aesthetically appealing. Why is this important? Because we are talking about professors and students who have an interest in a VISUAL art. This text presents large, lush examples to compliment the text: not all texts invest this effort or expense. Moreover, the selected examples are spot-on . . . they are not randomly chosen BUT are the quintessential example of any given technique.
What makes this text great is both the organization (which others have mentioned) and the accessibility. Let's say you are not taking a formal class in film, you would have no problem reading this text solo. It is that understandable . . . and, let's face it, if an author cannot clearly explain an idea to a lay-person then he/she really do not know the subject. Pramaggoire and Wallis KNOW their subject.
And while there are several "well-written" texts on the market, not all incorporate contemporary examples. While Orson Wells and Ingmar Bergman are key to understanding film, one cannot successful base an introductory text on "The Greats." It simply does not engage the new student. Luckily, this text includes essential examples from film history as well as contemporary examples (like "Super Size Me," "Waking Life," "The Piano" and "Requiem for a Dream"). I am especially fond of the short analysis of Harron's "American Psycho" (an oft overlooked, cinematic masterpiece).
One final reason to select this text: while other writers are rehashing old critical approaches to film, Pramaggoire and Wallis select the most relevant and contemporary ones. They instruct readers on how to view a film in the context of race, gender, sexuality, class, and national identity: all of which are crucial to understanding film! Likewise, they address "film authorship" which is equally as valuable. The text is never bogged-down by jargon (many are) . . . nor is it heavy-handed in its approach. Unlike most texts, this one wants to be understood.
You will find texts with DVD-ROMs, texts with "writing" supplements, texts with online-course access, and other "bells and whistles" . . . but this text does not NEED any of that. (It seems the others are trying to compensate for their short-comings by including "bonus" material . . . but it just becomes MESSY!). I plan to continue using this text as a tool for teaching film . . . it is, BY FAR, the best on the market. It is "smart," beautiful, and completely accessible. Whether you are a professor seeking a new text or a lay-person looking to enhance your knowledge of film, you cannot go wrong with this work. Trust me, it is worth the price!!
Fabulous introduction!.......2006-01-19
This is not only the best introduction to film studies that I've found, it's also a model of how a textbook should be organized and written. After an opening chapter on plot structure and thematic analysis, it goes in-depth into the elements of film form, with chapters on narrative form, mise en scene, cinematography, editing, and sound. The final section includes chapters on documentary and avant-garde film, writing about film, social context, ideology, stardom, genre, film authorship, and the economics of the film industry. Everything is covered very in-depth and in detail, with lots of excellent examples and photos. There is also a helpful film glossary in back. The writing is model of clarity and organization. This textbook is notable for the way that writing instruction is integrated into the text. Each chapter concludes with brief essay which exemplifies the concepts and terms used in the chapter, and includes margin notes which discuss the formal and rhetorical features of a college essay, including organization, research, thesis statement, and so on. There is also a concise chapter devoted entirely to writing about film, including the different kinds of essays typically assigned by professors. Students who read carefully will be well prepared to write film analysis papers for their college classes. Since this is an introductory text, it doesn't try to give complete coverage to film history and film theory, although these topics are introduced. Film history and theory really need to be covered in separate books and classes, as the authors recognize.
As Reference & Textbook for "Intro to Film".......2005-08-26
As a current user of Giannetti's "Understanding Movies", I find this new text to be a breath of fresh air. First impressions: the initial page prior to the content is a splash-page still from Visconti's "The Leopard", a film that perhaps has seen recent resurgence of interest in the film community. Overall, the text tries to convey the thesis of "Film as Art & Cultural Phenomenon" with thorough examples & concise explanations. Also appreciated is the brief desc of "persistence of vision & the phi phenomenon" & other more operational/technical aspects of film, filming & projection equipment.
The book features examples of what could be student film analysis papers. It also goes about analyzing the road to writing essays with an adequate thesis statement.
The book's highlight is the Chapter on "Writing about Film", which will likely help students in their film journal writing & paper thesis formulation. There won't be an intro book to tell the entire "story" of film, but Prammagiore & Wallis's book provides a commendable "structure" with film stills that ties closely to their text.
If you're looking for a summary of general film history in intro film studies, I don't think you'll find it here. Still a highly recommended book for students of film.
Book Description
Helps readers understand how the many languages of film work together to create meaning. Louis Giannetti organizes Understanding Movies around the key elements of filmmaking, including cintematography, Mise en Scène, movement, editing, sound, acting, drama, casting, story, screenwriting, ideology, and theory. He synthesizes every element through a complete case study: Citizen Kane. This book's ideas are illuminated with hundreds of high-quality still photos, more than 70 in full color, taken from movies such as The Matrix, Almost Famous, jackass the movie, Chicago, Lord of the Rings, Mystic River, and Traffic. New in this edition: a full section on contemporary special effects and computer generated imagery (CGI); up-to-the-minute information on new developments in film technology; more coverage of recent films and filmmakers; more ethnic diversity (including new material on the Islamic cinema); and more lavish use of color and high-quality paper. An updated Companion Website contains animations, video clips from interviews with movie professionals, and Research Navigator access to New York Times film reviews. For everyone who wants to understand the artistry and meaning of the movies.
Customer Reviews:
Great guide to film analysis.......2007-09-30
This is an essential book for students of cinema. It does one thing and it does it quite well: it introduces you to the language of film analysis, the categories that critics use to analyze a film. It doesn't try to cover film technology or history.
I totally agree with the other reviewer that the new editions are completely unnecessary, and serve only to destroy the market for used copies. Buy one of the older editions unless it's for a college class and you need the same edition as the class.
amazon never delivered!.......2007-09-24
This is a great book although, amazon never delivered. I had ordered this book 2 weeks before school(along with 2 other books for school), it never came. Amazon said that i have an "undeliverable" address, but when i ordered it from ebay i got it in 3 dAys! Then i had to wait forever for a refund!
good seller.......2007-09-10
great seller and i would buy from this seller again. the book was new just like it stated.
EXCEPTIONALLY INFORMATIVE TEXT -- Although Some Movies Don't Require Explanation (*A Haiku Review).......2007-05-10
So now when I watch
PLANES, TRAINS AND AUTOMOBILES,
I "get it" . . . and laugh.
~ Stephen T. McCarthy
[This goofy review is dedicated to the goofy MARTIN BRUMER (Feb. 15, 1960 to July 18, 1989),
a doggoned good actor and even better friend whose copy of this fine book was presented to me
by his Mother after he left for "That Great Sound Stage In The Sky."
Thanks, Marty & Miriam!]
An incredible introduction to film........2006-04-03
Gianetti continues to produce the ultimate in introductory film texts. He seemlessly introduces us to the history of cinema while teaching us everything we need to know to fully understand film. After finishing this text you will no longer look at films the same way.
The end of the book was by far the most intriguing. Gianetti devotes a whole chapter to what is arguably the greatest film in history, Citizen Kane. His synopsis allows the reader to truly understand the beauty of the movie as well as cinema as a whole.
A must buy for anyone truly interested film.
Book Description
The fastest, easiest, most comprehensive way to learn Adobe After Effects 7!
Classroom in a Book, the best-selling series of hands-on software training workbooks, helps you learn the features of Adobe software quickly and easily. Classroom in a Book offers what no other book or training program does--an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts.
Adobe After Effects 7.0 Classroom in a Book contains eleven lessons and a bonus DVD with lesson files. The book covers the basics of learning Adobe After Effects, and countless tips and techniques to help you quickly become an After Effects artist. You'll get thorough training in digital video effects and production as well as learn about After Effects 7.0's new features, including motion tracking, powerful animation and keyframing controls, HDR color support, network rendering, and more. You can follow the book from start to finish or choose only those lessons that interest you.
Customer Reviews:
good intro, one flaw.......2007-07-11
good, basic intro to a professional tool. while it might not "be for beginners" as some have said, neither is after effects. the one problem i have with the book is that several of the lessons require effects that only come bundled with the Pro edition of AE7. given that the title of the book does not mention Pro, the authors should probably have taken more care to avoid using features limited to the Pro edition.
Average Tutorial from Adobe.......2007-04-05
Actually this is about what I expected from Adobe. It's a basic instruction book for After Effects 7 that shows a beginner some of the mechanics of the program. The lessons pull the reader through the steps needed to produce the required results without much explanation.
As another reviewer noted, the examples aren't that good. Watching the sample movies before doing the lessons, you find yourself saying "And why would I want to produce something like that?" Or maybe "It takes over an hour just for that 10 second cheezy cartoon?"
After Effects is an extremely powerful program that's used by many professionals in countless video applications. Watch any TV program and you'll surely see the results of what After Effects can do. Much additional instruction beyond this official training book from Adobe, that you have to pay extra for, is obviously required to get the most out of After Effects.
I just got 2 more books,"After Effects" by Fahs & Weinman and "Creative After Effects" by Taylor. I'll see how they compare with Adobe's book.
Update: After reading "Creative After Effects" by Angie Taylor, this Adobe Classroom in a Book looks like a Pulitzer prize winner in comparison. Don't even think about wasting your time on Taylor's so-called "book".
A must-have if you own After Effects!!!!.......2007-04-01
I sat for a solid week trying to make sense out of the confusing owner's manual for After Effects, and never got anywhere. After just the first "lesson" in this book, I already knew my way around in AE smoothly, and then with each lesson, I was accelerating rapidly with knowledge. The official AE owner's manual will definitely be tossed into a dark corner for a long time.... this Classroom In A Book should be listed as a manditory requirement for learning how to use AE. It is very easy to understand and takes you through some very cool steps to help you create videos like the pros. Without this book, I would still have no clue as to how to function inside AE.....If you want to learn how to use AE in a flash, then you HAVE to buy this book!!!!! I recommend it 100%!!!!!
Good~.......2007-03-19
Haven't used the CD yet but book arrived in a timely matter and in good shape. Thanks
Life Saver.......2007-03-16
I had a project that I needed to start and finish in a couple of weeks. I had trouble learning it until I received this book. Very helpful. My only issue is with DHL. I paid for 24 hour service and got it in about four work days.
Book Description
Ready to learn the visual effects techniques used at such leading-edge studios as Industrial Light + Magic and The Orphanage? Adobe After Effects 7.0 Studio Techniques inspires you to take your work to the next level with real-world examples and insider techniques. With this under-the-hood, in-depth guide to Adobe's updated motion graphics and effects powerhouse, you'll get complete coverage of all the big features in After Effects 7.0: High dynamic range (HDR) 32 bit per channel color compositing, cinema preview and color management, a redesigned user interface, a new Graph Editor to animate using explicit translation curves, retiming effects using Timewarp, and dozens of other enhancements. Get blockbuster results without the big budget as you delve deep into the essence of visual effects. This book goes beyond conventional step-by-step instruction, teaching you bread-and-butter effects that you can adapt and combine for countless projects.
- Real solutions from real professionals: learn the techniques and approach used to create shots for big-budget special effects films.
- Compositing essentials: No matter how sophisticated the effect, they all begin with the same building blocks. Find out what you've been missing about color and light matching, keying, motion tracking, rotoscoping, working with film, and more.
- Advanced techniques: Your goal should be effects so good that no one notices them. From sky replacement to explosions, from smoke to fire, learn to bring your shots to life and enhance scenes without anyone ever knowing what they're seeing isn't 100% real.
- Companion CD-ROM: Professional tools produce professional results. The book’s companion disc includes plenty of sample projects including HD footage from Pixel Corps and the Artbeats Digital Film Library, as well as more than a dozen plug-ins and programs that you can use to build up and customize your own effects.
Customer Reviews:
Great Book, one to keep by your side while in AE.......2007-08-24
This book is everything I had expected it to be. Not a tutorial book, but more a reference tool. Get in a jam, look it up and you will get ideas on how to get out, or workarounds.
Good for intermediate and advanced users.......2007-05-15
This book is good for people that know how to use After Effects already. It's a good book though full of illustrations and tips but lacks tutorials which would enrich the book a little more...If you are looking for a book to start using After Effects the best book is Adobe After Effects 7 Hands-On Training from Chad Fahs with Lynda Weinman. You read that book and you learn everything needed to work with After Effets 7, Full of tutorials, hi quality paper, color print, and tips all over the book. Simply amazing!
ESSENTIAL FOR VIZ F/X AND COMPOSITING.......2007-04-02
This updated edition improves on the 6.5 book in a number of ways. First, you have tutorials to practice the concepts. AE7 added new features that Mark makes sense of, namely 32 bit float. And he expands on topics and details. I literally compared 6.5 to 7, page by page. Though I owned 6.5, it's worth it to get this update, if for the tutorials alone.
This said, no one else has made easier sense of visual effects compositing. No one. All the other books are really directed at Shake. Which is great if you own or understand Shake. But if you own AE7, or the AECS3, you owe it to yourself to get this. You can live without the Classroom in the Book, not Studio Techniques.
As a final digression, this really is like the source for DV Rebel's Guide. They do not overlap material, but DV Rebel's Guide touches on issues that a crucial, but the author rightfully defers to this book for the indepth analysis and practices. So if you want to go further, look to DV Rebel's Guide. And if you got Rebel's guide and are confused by some issues, look here first.
Superb, Practical Advice.......2006-12-31
Practical is without doubt the best way to describe 'Studio Techniques.' Christiansen has written a book filled with very practical and powerful advice that is sure to delight. Learning to create effects is fundamentally all about two things:
1) Learning to think like a visual effects artist
and
2) Learning to think like After Effects
Christiansen does a superb job of melding these two together. His examples, while very useful for their specific results alone, are perhaps more useful in learning how to approach problems and solve them in the After Effects paradigm.
As an added bonus, 'Studio Techniques' is also riddled with very useful tips and notes that provide additional creative insight and warnings on oddities that occur, their cause, and how to solve them.
Turbo Chage Your Compositing.......2006-11-15
This is NOT a book to help you create your first AE project. You must already be comfortable with the program before you open the cover of this book. But, once you can walk, this book will help you run. You will learn the dark secrets of the hollywood masters of the mystic art of compositing.
Average customer rating:
- A first-rate primer for the aspiring filmmaker
- An Excellent Overview
- good intro for the novice filmmaker
- Stick to "Film Art" by Bordwell/Thomspon
- Best introduction to filmmaking I've found
|
Art of Technique, The: An Aesthetic Approach to Film and Video Production
John S. Douglass , and
Glenn P. Harnden
Manufacturer: Allyn & Bacon
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ASIN: 0205142486 |
Book Description
This book provides readers with a teaching tool not currently available. It fills a gap in the literature by going beyond simple discussions of hardware usage, basic technical knowledge, and descriptions of technique to in-depth discussions of how this knowledge can be applied in a coherent approach to production.
Customer Reviews:
A first-rate primer for the aspiring filmmaker.......2002-01-21
"The Art of Technique: An Aesthetic Approach to Film and Video Production," is more of a primer than it is a critique of cinema. Yes, there is a big difference between this volume by John S. Douglass and Gleen P. Harnden and "Film Art: An Introduction" by David Bordwell and Kristin Thompson. The latter utilizes literally hundreds of frames from both classic and relatively unknown films to demonstrate cinematic techniques. "The Art of Technique" does the same thing with student models. Whether this has to do with the cost of using copyrighted images and/or transforming them into individual frames for use in a book, this is a major difference between the two textbooks. When Douglass and Harnden discuss something, like Ingmar Bergman's use of Extreme Close-ups (ECU) in "Scenes from a Marriage," they can only talk about the extraordinary intimacy it gave the production, without offering visual evidence to support their claim. However, the authors do use their "homemade" examples to good use at time; for example, when exploring the concept of framing they provide examples of "bad" shots (filled with distracting clutter) before showing better choices for the cinematographer.
"The Art of Technique" is divided into two main sections. After an introductory chapter on "Interpretation and Treatment," there are six chapters focusing on the various ways a film can tell a story, essentially pre-production considerations. There is a nice little section detailing the basic types of stories Hollywood tells over and over again ("Jack the Giant Killer," "Fish Out of Water," etc.). Clearly the emphasis here is more on production than criticism, which makes the orientation of this textbook more towards the filmmaker than the movie audience. This first section ends with a look at Mise en Scene and questions of design. In terms of concepts covered, separate from the issue of how those concepts are presented in the textbook, the authors provided a comprehensive, well-organized presentation.
The second half of the book covers "Techniques for Interpretation," which starts with a consideration of the trinity of how the camera, editing and lighting can be used for interpretation. Again, everything is here; I could not find a concept or technique that was an obviously glaring omission. The book concludes with a pair of chapters on Symbols and Significance, which get into the impact film can have on an audience. You might expect to find a glossary at the back of the book, but instead we have a pair of appendixes on Electricity and Measuring Light, which only serves to reaffirm that this book is geared towards the novice filmmaker. If you are looking for a textbook that because you are a budding film critic, then this is not going to be your first choice. I can even make the argument that by not saturating their textbook with frames from dozens of films, Douglass and Harden do their readers a favor, because instead of borrowing shots and techniques from the acknowledged masters of the art form, they are being asked to reinvent the wheel. Do not knock this, because that is basically how we think Orson Welles made "Citizen Kane."
An Excellent Overview.......2002-01-15
This book explores many aspects of filmmaking in a logical, easy-to-follow manner. A great find, albeit a bit pricy. I used it as my text for teaching a video class as it offers some aesthetic considerations for why techniques may or may not be used in a given situation. This approach helps to minimize the technique-euphoria beginners tend to have with techniques which are new to them (ala George Lucas in the new Star Wars...)
good intro for the novice filmmaker.......2000-04-21
this book works very well as an introduction to the creative use of techniques for filmmaking. it is quite clear and concise and is not bogged down by too much technical details or dicussions on film theory. a good starting point.
Stick to "Film Art" by Bordwell/Thomspon.......2000-04-17
I was shocked when I looked over this book. I had always relied on "Film Art" which is the standanrd intro to film but I wanted to branch out. I found this book to be a superficial approach to cinema, no probbing analysis or challenge to interpretaion of technique or narrative. Save your money and stick to the classics. No one seems to use this book in higher education film studies- ask your professor to suggest a book.
Best introduction to filmmaking I've found.......2000-02-16
I teach filmmaking, and needed a book that covers all the basics in a few meaty and meaningful pages. This is it. Most books on filmmaking technique either wax philosophical on the author's pet theories or get lost in gee-wiz-you-can-do-this-neat-trick-with-the-camera mania. There's little of either here; instead, you'll find a focused, highly readable series of lessons on what really matters most--how to communicate a meaningful message on film or video. Unlike some VERY annoying books that give examples of lighting and other techniques via badly drawn line-art, this book shows every technique with actual stills from video shoots so you can see how lighting, framing, lens use, etc. actually change the appearance and impact of a scene.
There are also numerous references to excellent classic and modern films with quite specific suggestions for examining the techniques that make those films work so well. Perhaps most important of all, the authors never lose sight of the fact that filmmaking is about interpreting and creating a reality that evokes a meaningful and powerful experience for the audience.
So if you want a book listing all the oh-so-tacky transitions and effects that your new NLE will do, or a thousand-page treatise on the history of film, THIS AIN'T IT. But if you want a book that will help you quickly learn to put cameras, lighting, and editing in the service of your creativity--buy this one first.
Average customer rating:
- Photoshop follow directions and try it.
- The why of Photoshop
- Brilliantly useful
- Value for money
- Sub-Par for SLR Photographers
|
Adobe Photoshop CS2 One-on-One (One-On-One)
Deke McClelland
Manufacturer: O'Reilly Media, Inc.
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ASIN: 0596100965 |
Book Description
If you work with Adobe Photoshop, you've already tasted how powerful a graphics tool it can be. Universally recognized as the standard for image editing and production, Photoshop is used by close to 20 million people worldwide. But how many can say they've fully tapped its vast functionality?
Whether you're a first-timer looking to learn Photoshop, or a seasoned Photoshopper interested in the cool new features of CS2, Deke McClelland's Adobe Photoshop CS2 One on One will have you completing rewarding projects in no time at all. A Photoshop expert, sought-after computer graphics and design lecturer and author of over 70 books, Deke brings his passion and easy, conversational style to the new edition of his bestselling Photoshop tutorial, updated for CS2.
A straightforward, step-by-step guide to the features and functions of Photoshop-with plenty of real-world projects and insider tips applied along the way-Adobe Photoshop CS2 One on One also covers the new features of CS2 in depth, including Adobe Bridge, the new file browser that makes it possible to process multiple images at once. Learn how to use new workflow and file handling features, how to batch process digital camera raw files, search metadata, quickly review images in Slideshow mode, and much more.
If that sounds like Greek to you, don't worry. Deke uses highly effective One-on-One teaching methods and creates a classroom environment that combines written instruction with more than two hours of video training (provided on DVD). As host of the "Best of Photoshop" disk that ships with every Photoshop order, he's uniquely qualified to present the material in this dynamic, interactive format. Whatever your skill level, Adobe Photoshop CS2 One on One will soon have you speaking fluent Photoshop CS2.
Customer Reviews:
Photoshop follow directions and try it........2007-09-14
This book I am using with a class I am taking. The instructions take a few chapters to get used to the writers style. The author covers a lot of good things that are very useful in photography as well as graphics. The only thing is the guy just can't take very good photos, but you can fix that, learn the basics from this book and take your'e own photo's! There is a lot to learn in this book to adapt to your own style! Go for it!!!
The why of Photoshop.......2007-05-04
As a web designer whose strength is in coding and scripting, Photoshop has always seemed to be a cauldron of black magic to me. The knowledgible knew how to coax results from the tempermental pot, but we newbies were most likely to get burned. While Photoshop's unfriendly, counter-intuitive environment is partly to blame, a host of "follow this list of steps to make a button/background/fancy text/whatever without learning why these steps are necessary" tutorials - both on the web and in books - also share some of the responsibility.
Thankfully, McClelland's book more than makes up for the lax presentations of scores of wannabe Photoshop authors.
To get right to the point, One-on-One is an exercise in describing the why of Photoshop. While the book is filled with tutorials (a few per chapter), they all fit into a shared context. McClelland doesn't just tell the reader to slavishly follow his steps, but WHY they're necessary and WHY they work. He teaches the reader how to read a color historgram, why relying on Photoshop's auto image adjustment tools are only the first step in editing an image, even rudimentary color theory. I honestly learned more by reading the first chapter in this book then by struggling through a host of inane tutorials.
In short, One-on-One does it right. It's a must-have for any potential Photoshop user.
Brilliantly useful.......2007-03-31
After a few unsatisfactory experiences, I was quite ready to admit the art of photography mending is beyond my capacities, and Deke McClelland's "Adobe Photoshop CS2" was in a way some "ultimate try" at the subject. After reading this book, I am aware of the fact I still have a lot to learn, but I am now confident I can reach some satisfactory level in using the powerful software Photoshop is.
In its step-by-step manner, this book is a masterpiece of pedagogy. The teaching, precise as well as relevant, is lavishly accompanied by superior illustrations. Without ever being overwhelmingly patronizing, it goes when necessary into precious details, all the time making sure the reader is able not only of acting the right way, but also of understanding why it is the right way.
If you are in need of learning how to use Photoshop CS2, this is the book for you.
Value for money.......2007-03-13
I found the book a good source of step by step learning. It takes you through beginner to full user. You can move at your own pace. I found the book easy to follow, as it is written in conversational style. It most certainly is good value for money. I recommend it.
Guity
Sub-Par for SLR Photographers.......2007-03-11
If you're looking for a book with painfully drawn out explinations and unispiring pictures, this book is for you; otherwise, head elsewhere. If you need to learn the basics of photoshop for non-photography needs, or want to learn how to add layout and text to your projects, this book would suffice. For photographers who want to learn how to use photoshop to manage, edit and manipulate their SLR captured pictures, this ISN'T the book for you. The projects are drawn out, cumbersome and uninspiring. Topics such as layers and masks aren't covered until 2/3 through the book! I would recommend the How to Wow series over this book - How to Wow is conscience, informative and conveys information quickly vs. the verbose manner which Deke seems to favor.....
Average customer rating:
- iMovie 6 & iDVD: The missing Manual
- Great Step by Step Guide
- This book saved my life... in a roundabout way
- One of the best "how to" manuals I've bought
- Quite simply-THE BEST
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iMovie 6 & iDVD: The Missing Manual
David Pogue
Manufacturer: O'Reilly Media, Inc.
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Binding: Paperback
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ASIN: 0596527268 |
Book Description
While the last version of iMovie gave moviemakers the ability to capture and edit widescreen High Definition Video (HDV) from the new generation of camcorders, iMovie 6 is all about the ease of moviemaking itself. iMovie 6 includes five professionally designed themes with backgrounds, motion graphics, titles, and effects that act as building blocks for your projects. You can preview transitions and stunning new video effects--such as time-lapse video--in real time using the full screen. Or edit audio and add sound effects with a new built-in sound studio. For presenting your movie, Magic iDVD offers easy-to-use themes, including new widescreen options.
Whether you're a professional or an amateur moviemaker, this is amazing stuff. But if you want to learn the full capabilities of these applications, Apple documentation won't make the cut. Instead, iMovie 6 & iDVD: The Missing Manual is the ideal third-party authority that covers all of these changes through an objective lens. This witty and entertaining guide from celebrated author David Pogue details every step of iMovie 6 and iDVD production. The book shows you how to:
- Work on multiple iMovie projects at once and drag & drop clips among them
- Output your creation to a blog, its own web page, or as a video podcast with iWeb
- Use "Magic iMovie" to import your video and make a movie for you
- Integrate with other iLife programs to use songs, photos, and an original soundtrack
- And a whole lot more
From choosing and using a digital camcorder to burning the finished work onto DVDs, posting it online, or downloading it to an iPod, iMovie 6 & iDVD: The Missing Manual zooms right in on the details in a clear, concise, and understandable manner. The book also provides a firm grounding in basic film technique so that the quality of your video won't rely entirely on magic.
Customer Reviews:
iMovie 6 & iDVD: The missing Manual.......2007-10-03
Having Missing Manuals 3 to 5 It is again most difficult to find what's new in Apples Version 6 amongst all the older information contained in the previously published "Manuals". If one was purchasing it for the first time it does a reasonable job.
Great Step by Step Guide.......2007-06-27
This book is a thoroughly attentive-to-detail manual that is true to it's name/concept: The manual that *should* have come in the box! It clearly walks you through every step, big and small as well as including sections on how to improve your filming, editing, and a concise Quicktime how-to.
I recommend reading the entire book before starting an iMovie/iDVD project but if you just can't wait (I couldn't-- I read as I went), I recommend reading Appendix B (pg. 461) which is "Troubleshooting" early on . It includes *many* crucial tips from being sure to format your external HD to Mac OS Extended (if saving on an ext. HD) to switching the factory-setting 12-bit audio on your digital video camera to 16-bit to common 'glitches' while importing, working with or exporting footage.
The other great benefit of this book is it explains the various little 'tricks' for more complicated tasks or for things that are hinky and need a little fiddling to work. One ex.: You use the new iMovie 6 themes w/in iMovie (Pass Through, especially, is slick/professional-looking!) and are trying to use a *trimmed* clip w/in the theme. iMovie doesn't understand starting it where you trimmed because it keeps the trimmed portion of the clip hidden but still there so the undesirable portion of your clip is shown in the intro theme instead. This book explains in detail how to save it to Quicktime and re-import the new *permanently* trimmed clip to use w/ no problems in your themed intro!
This book also spells out the key differences in iMovie 6 vs. previous versions. I HIGHLY recommend this book if you are looking to edit home movie footage (or other) using iMovie (& iDVD) and don't have your own personal Mac Genius in your household. :-)
This book saved my life... in a roundabout way.......2007-05-14
I recently purchased a Mac and edited my first film - a short documentary - on iMovie.
I had never used iMovie before and a good friend recommended this book and I couldn't have been more pleased. I haven't encountered a problem yet that this book hasn't addressed.
Well-written, simple and practical.
A great resource. Worth your time and money.
One of the best "how to" manuals I've bought.......2007-04-19
I have to admit that I was skeptical when I saw that this was a textbook for an introductory filmmaking class but it's an awesome book. It strikes just the right tone and is basically a short course in filming, editing and distributing (dvd, web, email) movies. Well done.
Quite simply-THE BEST.......2007-04-03
Simple and darn articulate. Im not a tech person in any sense of the way, Mr Pogue has outdone himself. He indeed has made understanding imovie very simple. Highly recommended if you are just starting out or if you wish to brush up on the latest version of Imovie
Amazon.com
If you have been using After Effects for years, have just started using it, or are considering using it, get this book. Written by Trish and Chris Meyer, perhaps best known for their monthly motion-graphics column in DV Magazine, Creating Motion Graphics with After Effects is the definitive book on using this powerful tool.
Every page is in color and is filled with tips, notes, warnings, and screenshots. The format is clearly not boilerplate--there is no wasted space, yet the book manages to strike a balance between being information-packed, easy-to-read, and enjoyable to look at. The only downside of this book is that it doesn't have a spiral or lie-flat binding.
Nine sections break down the features of After Effects in a logical manner, starting with basic animation and key framing, and on to layers, masks, mattes, effects, and rendering. Part 6's four chapters explain using After Effects with its sister applications, Photoshop and Illustrator, and Part 7 covers audio--an important but rarely discussed aspect of any presentation. Part 9 features a wide array of technical discussions, including field rendering and interlacing, 3:2 pull-down, working at film-resolution and widescreen sizes, prerendering, and using proxy files.
The CD-ROM gives 22 tutorials and includes project files. These lessons range from the basic ("Getting Animated" for After Effects beginners) to what falls into the "Oh, wow, I would never have thought of that!" category (a Matrix title-sequence look-alike). The CD-ROM also includes all the projects and source files cited in each chapter, plus tech tips covering 12 difficult and common technical areas--including alpha channels, the aspect ratio, and the After Effects rendering pipeline.
An artisan at the top of his or her craft often takes on the task of teaching others. Those working in the fields of animation, effects, motion graphics, and digital media are lucky that authors Trish and Chris Meyer are living by this rule. --Mike Caputo
Book Description
Discover the experts' techniques for creating award-winning animation, composites and special effects for TV, film and more-with Creating Motion Graphics with After Effects by Trish and Chris Meyer. Dozens of inspiring examples help you break through to new heights of creativity and proficiency.
This color-packed book starts with the fundamentals of Adobe After Effects 4.1 and progresses step by step. The authors offer real-world explanations of how the program works, and a CD-ROM of example projects showing each concept in action. Hands-on tutorials demonstrate creative techniques, shortcuts, and tricks you can apply to your own art, using both the Standard and Production versions of After Effects.
For users of all levels, topics include:
- Mastering complex animation and keyframe assistants
- Creating transparency with alpha channels, masks and keying
- Transfer modes, rack mattes and numerous effects tips and tricks
- Building hierarchies of nested compositions
- Working with fields, DV, NTSC, PAL, widescreen and film
The companion CD-ROM contains hundreds of movies, stills, objects and audio clips, plus free plug-ins and more. It also includes the tryout version of Adobe After Effects 4.1 for Mac and Windows.
Customer Reviews:
Questions Answered.......2004-12-15
Excellent book. I can't put it down. It's giving the answers to my questions. The AE manual is dry with short descriptions. AE CIB is OK for teaching where to click etc. This book tells the whys, hows, etc. Detailed but easy to read.
Too Difficult For Beginner.......2004-08-26
Well, I bought this book after the glowing reviews. But in all frankness, I found the beginning chapters and tutorial to be very difficult to follow. The authors do write that in this book, you are immediately thrown into the AE process...they weren't kidding.
Rather than start a newbie off with a simple composition, they throw a very complicated at you from the get go. I'm pushing buttons and following instructions the best I can, but for the life of me, I don't understand the process. It would have been much better for them to start off with an explanation of all the buttons, switches, boxes, icons, commands, etc.
So, if you're new to AE, I'd steer clear of this one. I've already been through the first tutorial twice, and it still doesn't come any easier. Yes, I do realize that AE is complicated software, but there's GOT to be a better way to present the material!
I am probably destined for an actual classroom training course just to first get over the hump....and I'm a 25 year veteran of film/video production. Photoshop and Illustrator...no sweat.
Other than that, the book looks like it has a lot of good stuff in it...but it will collect dust on my shelf.
PM
If your serious about making a living using Ae.......2002-10-04
I Have the videos ...I have the books, they are all collecting dust except for this one. Trish and Chris Meyer are the Ae guru's. I have been using Ae for about 2 yr.s and I have dramatically increased my income because of this book. Now all the :30 and 1:00 commercials I do are done in After Effects. I strongly recommend this book for an intermediate to experienced editor wanting to break into motion graphics and compositing. This book is guaranteed to raise your IQ (and could quite possibly help in raising your income).
A to Y.......2002-06-07
I was a beginner and this was all I ever used to learn AE. I left out the Z b/c obviously they must have left out a technique or two, but otherwise this is all you need to get up and running. Forget the videos others offer, they're a waste of time and money. There's plenty of online support and training offered from various user groups, some with FREE video clips. LES MEYERS get an A+++++ from this DV Editor.
Essential for any after effects user.......2002-05-01
I've been a long time fan of the Meyers' column on DV magazine, so when I heard they were publishing a book I knew it would be great. I think that this book and it's companion After Effects in Production should be in every motion graphics artists personal library. The tutorials are beautifully explained and illustrated. Even advanced users learn new ways of doing things. For what I've seen beginers can use it as a text book and follow it sequentially, for advanced users it's a great reference book that completly substitutes the original manuals.
Book Description
This book describes the major aesthetic image elementslight and color, space, time-motion, and soundand how they are used in television and film. Zettls comprehensive coverage of aesthetic theory and his inclusion of effective visuals and examples place this text in a class by itself.
Customer Reviews:
5 stars.......2005-10-10
The book is totally new and under very good condition, and the dilievery time is much earlier than i expected.
Best in field.......2004-12-28
This text thoroughly explains the intricacies of applied media asthetics in a concise and completely accessible way. It is a well organizied text that ehances its presentation through the use of many illustrations. I believe that this is the best text on the subject and that it has been since its first edtion.
motion graphics professor.......2002-06-04
"Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book."
I would disagree with the above review. Only by learning WHY first, can we learn HOW later. This book is more than a cookie cutter approach to film and video. If you want to "click and drag" your way through an editing program, then true, this book is not for you. Add this to your collection if you want a book that teaches how to see and create film. Sight, Sound, Motion: Applied Media Aesthetics has staying power.
Fundamental book on the theory of the moving image.......2001-05-20
This was the assigned textbook for my digital video 2 class, and it is simply wonderful. Zettl is a very knowledgable man on the subject of creating images for film, video, and even new media. (Zettl's text Video Basics 3 was used in my digital video 1 class as well) This book lays a solid foundation for the theory behind how and why the viewer perceives the moving image, and how the filmmaker and video producer can create more pleasing and coherent productions.
While the biggest complaint I've heard about this book is it's over-reliance on theory, it still does a good job of contextualizing theory into practical application. Thus the title of the book: APPLIED Media Aesthetics. Although I haven't read any of Eisentien's theories behind filmmaking, I suspect that Zettl's treatment would compete rather well, and is probably more accessible for a modern reader.
This book covers all the bases from color and light, time and space and structuring audio to image. Zettl succintcly deconstructs the intelligent mind behind the images and sound of our cultures film and television productions.
Sight, Sound, Motion: Applied Media Aesthetics explains the WHY of film and video production. If you're looking for HOW then turn to another book.
The Filmmaker's Bible of Aesthetics or What Works and Why.......2000-11-04
This is probably the most important textbook a film production student can have on his/her shelf. NOT for how to work with actors or how to light a scene, but for understanding the underlying reasons of why things work due to our learned aesthetics and Western sensibilities.
Professor Herbert Zettl has written the most concise manual on why we has film viewers percieve things the way we do. He explains in detail (and layman's terms) how our aesthetics have been formed to interpret the dynamic medium of film and television.
How editing of action from shot to shot creates the illusion of continuous motion. How stagelines work so not to give the effect that your actor is jumping around from one side of the scene to the other. How to crop your shot BETWEEN the bodies natural cut-off points (i.e. neck, elbow, waist) to prevent the actor from looking like a disembodied head or torso.
This book is cover-to-cover insights into what we as viewers take for granted when we watch a good filmmaker's work, but may not consider when faced with the daunting task of mounting a film production and the on-set "reality" problems that dominate the filmmaker's mind when shooting a film.
I first read this book when I was in film school twenty years ago. Since then I have directed many professional film productions and I still review it before starting a new one to refresh myself.
Just as Syd Field's book "Screenplay" is the bible for screenwriting, "Sight Sound Motion" is the bible on understanding what works in film/video and why.
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