Amazon.com
Film Directing Shot by Shot offers a good introduction to the rudiments of film production. Steven D. Katz walks his readers through the various stages of moviemaking, advising them at every turn to visualize the films they wish to produce. Katz believes that one of the chief tasks of filmmaking is to negotiate between our three-dimensional reality and the two-dimensionality of the screen. He covers the number of technical options filmmakers can use to create a satisfying flow of shots, a continuity that will make sense to viewers and aptly tell the film's story. Katz provides in-depth coverage of production design, storyboarding, spatial connections, editing, scene staging, depth of frame, camera angles, point of view, and the various types of stable compositions and moving camera shots.
Book Description
A complete catalogue of motion picture techniques for filmmakers. It concentrates on the 'storytelling' school of filmmaking, utilizing the work of the great stylists who established the versatile vocabulary of technique that has dominated the movies
since 1915. This graphic approach includes comparisons of style by interpreting a 'model script', created for the book, in storyboard form.
Customer Reviews:
Chicken scratches vs. Detailed Storyboards.......2007-08-19
I have used this book numerous times for my teachings in which students go through the process of making a short film with certain limitations being imposed. It is part of a process that I call "fast filmmaking". I like the examples that Katz presents, specifically that it is not the quality of the drawing, but how the drawing communicates the director's vision to the rest of the crew. I will usually have a student "explain" their storyboard to the class, and it is amazing how a few chicken scratches can give as much details as a fully detailed storyboard. Kudos to Katz for explaining the creative aspect of directing, and Michael Weise Productions for publishing these types of books.
of moderate interest to readers of video magazines.......2007-08-13
as a long-time reader of videographer's magazines, I didn't find much of interest in this book. If I were new to the trade, I'd probably have found it more useful. For that reason, I gave it a rather high rating of 4 stars
Mind-opening, even if you aren't interested in directing.......2007-06-30
I've worked in the graphics design business for years, but more recently I've grown interested in working with video, primarily shorts and documentary work. I was looking for a book that could help teach me the "language" of motion and visual storytelling, and this book fit the bill. In fact, I found it to be incredibly inspiring as a student of art in general. It's extremely well-written, chock full of practical examples, and contains numerous time-worn techniques as well as cutting-edge experimentation. One funny thing: since it was written a few years before the desktop digital video revolution began, it talks about some of the difficult aspects of shooting which are now in many ways moot. But it's good to hear about the history of the craft.
If you have any interest in all in shooting, directing, or producing any kind of motion picture, show, or short, you'll definitely want to buy this book. However, be forewarned: you'll never be able to watch movies the same way again. You'll begin to pick up all the subtle nuances of filmmaking without even realizing it, so don't feel bad if you have to force yourself to re-engage with the actual story as you're watching!
Useful, pleasurable.......2007-05-07
I'm a college student, not at film school, who makes videos as a serious hobby. I thought this book was much better than other titles in the same market, because it's so specific. Instead of telling you what anyone with common sense knows, like "keep continuity" and "composition can affect the mood of a scene," this film lays it all out in detail. I recommend this for everyone who wants to improve. Even if you're not particularly interested in storyboarding, you'll learn how to think about your sequences in advance much better.
Learning the Rules Before You Break Them.......2007-01-13
Even though many of the great filmmakers may have not utilized storyboards, every one of them has pre-visualized their films.
Pre-visualization is the essence of what it means to be a director. A director can only be effective if he/she properly prepares for each scene. Even if one does not have every shot precisely planned out, they will still have an idea of the look and the flow of the process.
There are certainly many people who feel directing should be intuitive, that there should be no structure to the process or else creativity is stifled. This is a valid point from the perspective of the artist.
What is wonderful about this book is that it gives extensive insight into WHY one should cover a scene in a certain way. Directing as a profession requires a certain amount of preparation and PROOF that you have a handle on the film. Producers want reassurance that you have a vision worth pouring tens of millions of dollars into. Armed with the ability to properly express yourself in regard to your vision, you will have a much easier time convincing others to follow you.
So, in the end, if you are interested in studying the language of film and the methodology behind classic film composition and editing, then this book and the accompanying Film Directing: Cinematic Motion are essential.
Book Description
Tens of thousands of readers have benefited from Michael Rabiger's classic text on documentary filmmaking, now updated to reflect the revolutionary switch to digital video equipment and software. You will learn how to research and focus a documentary film or video idea, develop a crew, direct the crew, maintain control during shooting, and oversee postproduction. Practical work is emphasized, with dozens of exercises and questionnaires to help focus your ideas and give you hands-on practice. The documentary is treated as an important genre in its own right, as well as a useful prelude to directing feature films.
The fourth edition is a significant update. The book's emphasis has always been on concrete steps you can take to become a documentary filmmaker, and there are loads of new projects to help, along with assessment tables that allow you to gauge your progress. In addition, there is new material on location sound, the reality TV trend, top documentaries to see, and more.
*The definitive guide to making a documentary
*A hands-on approach with dozens of exercises
*A fully updated 4th edition of the classic textbook
Customer Reviews:
Enjoyable Too.......2007-04-11
Thought it would be much more heavy and academic. Is an easy read without dumbing down. Great for getting you going again if youhave "fallin off the wagon".
great.......2007-04-10
what a great book. it's up-to-date and goes through everything you could ever want to know about documentary filmmaking.
The Ultimate Guide to Documentary Filmmaking.......2007-03-26
I already use Rabinger's "Directing" tome as my filmmaking bible, and always refer to it when planning productions and right before shooting. So when I started a documentary project, I knew I had to get this version dedicated to that aspect of filmmaking. I was not disappointed. Right away, his advice improved my project planning and helped me make a much better project pitch than I originally had. And once again, it's loaded with practical advice that's very easy to read and use. Rabinger knows how to put together a great reference resource. Too bad all books weren't put together like these.
Great book for filmmakers of all kinds.......2006-09-21
this book includes all kinds of useful information that is not necessarily specific to documentary, although that is it's focus. there's excercises in here to help develop ideas into a filmic narrative, ethics, how to tackle an interview as well as subject matter. i've read a lot of film books, and i have to say, this is not only well written with a sense of humor and wit, it deals with potential situations in a down to earth way. The information provided is not just technical, but also how to approach an emotional situation, gain the trust of your participants, and address multiple points of view.
Directing The Documentary.......2006-07-19
I am currently writing a documentary for a feature length film, and found Michael Rabiger's book informative, subtle, and well structured. Having received a documentary film class at University, I had already learned about the basic tools of the medium. This book provides a masterclass in documentary filmmaking, and prepares you for the demands of documentary filmmaking. I recommend it to students and professionals alike.
Amazon.com
How does a spec script differ from a shooting script? What kind of fasteners should one use to bind a script? How did the term MOS come to mean without sound? You'll find the answers to these pressing questions and much more in David Trottier's eminently usable Screenwriter's Bible. The avuncular Trottier--a writer-producer, script consultant, and seminar leader--has written a friendly guide through the Hollywood morass. He touts it as six books in one: it's "a screenwriting primer, a screenwriting workbook, a formatting guide, a spec writing guide, a sales and marketing guide, [and] a resource guide."
Much of Trottier's advice is common sense: "Don't write anything that cannot appear on the screen"; to keep casting options open, don't make your physical descriptions too specific; "don't say Ron Howard is looking at the project if he is not." But there are things to know about Hollywood that are, well, quirkier. Don't write the title of your script on the front cover or side binding; present action sequences using the "stacking action" style; in query letters and scripts alike, avoid "big blocks of black ink." Trottier's guidance--from character development and revision to queries and pitches--is invaluable. Getting in the door can seem impossible, but it's not, necessarily. "If you write a script that features a character who has a clear and specific goal," says Trottier, "where there is strong opposition to that goal leading to a crisis and an emotionally satisfying ending, your script will automatically find itself in the upper five percent."
(By the way, MOS is said to have "originated with German director Eric von Stroheim, who would tell his crew, 'Ve'll shoot dis mid out sound'"). --Jane Steinberg
Book Description
The Screenwriter's Bible is six books in one. Book 1 -- A screenwriting primer that provides a concise presentation of screenwriting basics. Book 2 -- A workbook that walks the writer through the writing process, from nascent ideas through revisions. Book 3 -- A formatting guide that presents correct formats for both screenplays and TV scripts. Book 4 -- A spec writing guide that demonstrates today's spec style through sample scenes and analysis. Book 5 -- A sales and marketing guide that presents proven strategies to help you create a laser-sharp marketing plan. Book 6 -- A resource guide that provides addresses and contacts for industry organizations, schools, publications, support groups, services, contests, etc. Among its wealth of practical information are sample query letters, useful worksheets and checklists, hundreds of examples, sample scenes, and straightforward explanations of screenwriting fundamentals. The "Bible" was a featured selection of The Writer's Digest Book Club.
Customer Reviews:
warning.......2007-09-23
The book is full of good information butif in browsing it, you see the website www.clearstream.com and hope to find the promised additional help on line, forget it. That web site is owned by a German investment company (for the past year or so). I Googled David Trotter (author of the book) and found him not.
This does not negate the value of the info in the book itself.
Must have for screenwriters.......2007-09-21
IT gives you what you need to have a screenwriting foundation - especially the technical aspect.
Top reference for writing Spec Scripts.......2007-09-04
Well written, easy to follow with alot of good advise. This really opened my eyes to the world of Spec Scripts which focus on the story (stay away from giving camera angles - because for the most part its the story that studios want to buy, they already have a staff who will put in the camera angles - they just want the story!!!).
Spec Scripts are what gets your foot in the door (just the story in a format that is read by the Hollywood script readers - who then intern recommend it to the studio).
If you are serious about writting (novels, plays, movies, managa) this book shows you the basic format of Spec Scripts. Once you have completed a sub script you can turn it into anything e.g. novel, play, movie, manga).
Anyone considering screenwriting NEEDS this book........2007-08-05
Hey everyone, I've owned and read two editions of this book so far and it never fails to help inspire me or answer my questions. I highly recommend this book for the beginner. It starts with a primer on plot basically. It seeks to create a strong foundation because if you know nothing about plot structure and try to write a movie it will turn out either confusing or very boring. David really stresses the 3 act, 7 plot point structure that is the basic framework of creative writing. This can be repetitive, but he really wants to hammer it into your head.
The book also have a whole section on format. I have screenwriting software to do the format for me so I don't look at this as much as I used to, but it still comes in handy. I wrote my first screenplay in Word so this chapter really taught me a lot. Also, software or not, you need to know the basic framework of a spec script.
So, maybe this book doesn't have everything, but I have found this to be the only book I've ever used. Other books I've read on sreenwriting have had a lot of talking by the author. The author just keeps rambling on about things and not teaching me. David stays focused and keep you focused. This book's main purpose is to fill your head with facts. David also injects humor into his writing so you can stay entertained. In the formatting section he writes an amusing story of how he teaches a class in spec script format for example.
When it comes to the more advanced writer, you probably don't need this book, but if you are looking for a refresher course then you need look nowhere else. But what is really good about his approach is that it is focused on you, the spec script writer. He doesn't want to cloud your head with unnecessary camera direction and specials effects- things that the spec writer has no control over. All this happens after the script is sold. It's your job to tell a story using as much detail and action as possible. Don't get caught in the dialog trap- movies are mostly visual.
When you have finished your work and need help marketing it, there is a section of the book devoted to this difficult step. This is the only book on screenwriting I have found useful. Most self-help books I get no use out of. I dig this out whenever I start a new screenwriting project. I do hope to find a more advanced book written in a style like this however, as I have moved past the meat and potatoes stuff.
One of the Best.......2007-08-02
If you are just starting off as screenwriter and can only afford one book, this is the one. It is organized like a classroom workbook. Personally, I learn better with this type of structure.
Book Description
Once the sought–after video girl, this sexy siren has helped multi–platinum artists like Jay–Z, R. Kelly and LL Cool J sell millions of albums with her sensual dancing. In a word, Karrine was H–O–T. So hot that she made as much as $2500 a day in videos and was selected by well–known film director F. Gary Gray to co–star in his film, A Man Apart, starring Vin Diesel. But the film and music video sets, swanky Hollywood and New York restaurants and trysts with the celebrities featured in the pages of People and In Touch magazines only touches the surface of Karrine Steffans' life.
Her journey is filled with physical abuse, rape, drug and alcohol abuse, homelessness and single motherhood––all by the age of 26. By sharing her story, Steffans hopes to shed light on an otherwise romanticized industry and help young women avoid the same pitfalls she encountered–– and if they're already in danger, she hopes to inspire them to find a way to dig themselves out of what she knows first–hand to be a cycle of hopelessness and despair.
Customer Reviews:
It was okay, but confusing at the same time .......2007-10-04
I know this book has been on the shelfs for a while. There is actually a second book that follows this one. I felt i had to read this book before I read Karrine's second book. The book is okay but it is all over the place. First her whole childhood story wasn't really convincing to me. I felt that she fabricated a lot of the stuff that she talks about her mother. The rape incident seem so unrealistic to me. I don't believe that whole part about other people watching her getting rape and not doing anything about it. Also i couldn't believe she remained friends with that girl after what happen. She constantly claims how she had low sef-esteem and how she always looked for love in the wrong places.One thing that stood with me was after sleeping with all these celebrities she would say, how she felt love and worth it once again.
Superhead whatever her name is, she was just too confusing for me. I can't believe that she put her child through so much and abandoned him numerous times in order to go with these rappers who didn't care about her. I think she put her self in those situations, i didn't feel sorry for her. i felt sorry for her son and i have to say Ray J. She lied to him and used him as her safety net. Overall the book is a quick read.
This Book Will Go Down In History.......2007-09-29
I am just getting the chance to write this review but I read it shortly after it was released. Karrine took us back to her childhood and helped us to understand the complex woman now called "Superhead." As in other reviews, I have never judged her.No one should. Who we may be quick to judge though are those people in the book who shield their past and demons. It was very interesting to divulge in the lives of many powerful (not only hip hop) figures. I did feel in reading the book that there is so much that she left out--no wonder no one has sued her. Many of them are sighing relief. Well besides "Big Tigger" which makes me wonder why HE'S so upset. If its "not true" Tigger--just move on...u guilty of something? Just wondering. Who also makes me cringe and want to judge is "Papa" otherwise known as Method Man. I'm sorry if I am spoiling it for those who haven't read Vixen Diaries yet but the fact that he called up to Hot 97 in a rage about how he doesn't know her only for us to find out it was him the whole time. It plays in my head "Why do I keep getting mentioned in the same sentence with this girl and I don't know her?" I have no respect for him whatsoever and being outed is what he deserved. Now you have a LOT of explaining to do Meth!! I imagine that he will not be making any appearances or doing anything in the near future in the sheer effort to avoid the "Superhead" question. Anywhoo--everybody should have a copy of this in your library. Just think 10 years from now your 16 year old son or daughter who is looking at these aged hip hop artists and even Karrine,can read and see who they really are--just normal people trying to figure things out in the world.
alright further proof that sex sells.......2007-09-14
karrine's my kind of girl she's into everything threesomes, prostituition, drugs you name uit she did it ain't nothing I can say that have'nt already beed said on here but there are some names I was hoping she drop like snoop, ice cube, nelly, master p, mack 10, ugk, too short, luke, maybe she did'nt have time for those good book lobve how she go into detailsd about dmx scratching her and barking while havinbg sex.
No doubt about it: She CONFESSED........2007-09-09
Poorly written novels irritate me greatly. Based on the life Karrine lived and the way she reacted to certain situations informs the reader that she isn't the most intelligent woman alive, but she did have Karen Hunter aid her with this book, so between the two of them, someone should have known how to write a decent book. However, in this instance, the poor vernacular isn't the most imperative issue here. What truly matters here is the fact that she was so unapologetically honest about many of today's hottest male celebrities. She was sexually involved with superstars such as Ray-J, Kool G Rap, Ja Rule, DMX, Jay Z, Shaquille O'Neal, Ice-T and Diddy. She was seemingly honest about her liaisons with these men, many of whom are married.
Karrine was able to get doors opened for her because of her good looks and amazing sexual expertise. In this book, she makes it clear that she has no love for her mother because her mother was not there for her. This may or may not serve as a contributing factor to why Karrine was so free with her body. She began her "career" as a dancer in hip-hop music videos. This opened doors for her; she was able to get into concerts and VIP at clubs. In the book, Karrine doesn't necessarily glorify the finer things in life, but one can easily imply that she enjoys them a great deal. She is very candid about her abusive relationship with rapper Kool G Rap and the fact that she was homeless. Before the book ends, she becomes a bit preachy and lets girls know that they should want more for themselves than to be a man's whore.
I truly enjoyed reading the book. It was difficult to put down once I became engrossed into it. If you can look past the poor writing, this book should be at least a little enjoying and/or intriguing.
JUICY !!!.......2007-09-09
Its not great literature, but its spicy and lurid. And I couldn't put it down! If you want a quick & easy read, than you will like Confessions of a Video Vixen.
Amazon.com
This is essential reading for anyone interested in directing or acting. Judith Weston's brilliance is to recognize that directors, actors, writers, and technicians are involved in a process that is at essence a collaboration. In order for them to have the best shot at creating something true and meaningful, they must share a language and a method of exchange that fosters creative cooperation. Weston rightly sees the director as the central figure in inspiring the energy of a production's harmony. She advises the prospective director on every aspect of a stage or film production, showing how the director can draw the best performances possible from actors.
Book Description
Internationally-renowned directing coach Weston demonstrates what constitutes a good performance, what actors want from a director, what directors do wrong, script analysis and preparation, how actors work, and shares insights into the director/actor relationship.
Customer Reviews:
Buy this book now!.......2007-04-15
If you are even thinking that this book might be of some interest to you, I can assure you it will change the way you work -- all for the good. Weston has boiled down and focused the art of getting a performance in a clear and brilliant manner. What else can I say, why are you still reading this - buy it. Simple.
Simple techniques that WORK!.......2007-02-05
Judith Weston has outlined for the director (of any performance, not just film) quick and effective ways to communicate and elicit the performance you want... at the very least, you will get something different. I am an actress who has had the privilege of working with Judith and her directors. I have seen the process in action. I've used it. When someone has truly applied the techniques that this book recommends, it doesn't matter if the actors have just started, or if they're old pros, with vastly different methods, the performances are fresh. The performances change. The performances improve! READ THIS BOOK!
No other book on acting or directing comes close.......2006-10-18
This book isn't just for directors. It is an invaluable resource for actors as well. I've taught film and video acting for a number of years and never found a book that was worth having students read even part of. Until this one. Unlike most books on acting which focus on techniques that may work great on stage but are worse than disastrous on film, Judith Weston goes under the surface of acting and directing to the core of what a close-up camera needs to see. That, in a nutshell, is "lending the character your unconscious," so that absolutely nothing looks (or is) fake or "pretend." Even more importantly, she provides down-to-earth, extremely effective techniques for directors that support and demand genuine, affect-free performances. She discusses the creative process of the director at a level that is not idiosycratic or based on her personal "style" (as so many books for directors and actors do). Her advice is both common-sensical and deeply insightful, it's what every good director knows but often can't articulate consistently enough. Don't miss this book if you work in film or video, whether you are a director, actor, teacher, editor, DP, AD, or even a gaffer. After reading Weston, you will see every aspect of the actors performances more truly and clearly, and find yourself finding new ways to get the most out of every second on screen. One of those books that changes your life by telling you what you already knew more clearly than you ever thought it could be said, and giving you fresh new ways to put it into practical use. Highest recommendation.
the best book on directing actors.......2006-02-17
This book teaches the most important skill a director can possess: getting great performances from actors.
She breaks things down into logical bits and helps you avoid many common mistakes directors make, such as giving unplayable directions, giving too many directions, talking too much, etc.
She writes with wisdom, insight, and humor.
If you're a director or a wannabe director, do the world a favor and read this book so the world has better performances to watch.
This book is the best kept secret in show business. An even more valuable secret is her workshop, which she teaches regularly in L.A. as of this review (Spring 2006).
Great beginner book.......2005-10-14
I agree with Thor Vadir's review in that it did favor the actor more often than not. But that is ok as long as you are aware ahead of time.
As a very first time director, I read this book through 2x before my shoot. It is a 40 min short film with paid actors.
It was very helpful as a true newbie.
This, coupled with some experience under my belt, has given me a great start to my (hopeful) career.
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.
Book Description
For any digital TV developer or manager, the maze of standards and specifications related to MHP and OCAP is dauntingyou have to patch together pieces from several standards to gather all the necessary knowledge you need to compete worldwide. The standards themselves can be confusing, and contain many inconsistencies and missing pieces. Interactive TV Standards provides a guide for actually deploying these technologies for a broadcaster or product and application developer.
Understanding what the APIs do is essential for your job, but understanding how the APIs work and how they relate to each other at a deeper level helps you do it better, faster and easier. Learn how to spot when something that looks like a good solution to a problem really isnt. Understand how the many standards that make up MHP fit together, and implement them effectively and quickly. Two DVB insiders teach you which elements of the standards that are needed for digital TV, highlight those elements that are not needed, and explain the special requirements that MHP places on implementations of these standards.
Once youve mastered the basics, you will learn how to develop products for US, European, and Asian markets--saving time and money. By detailing how a team can develop products for both the OCAP and MHP markets, Interactive TV Standards teaches you how to to leverage your experience with one of these standards into the skills and knowledge needed to work with the critical, related standards.
Does the team developing a receiver have all the knowledge they need to succeed, or have they missed important information in an apparently unrelated standard? Does an application developer really know how to write a reliable piece of software that runs on any MHP or OCAP receiver? Does the broadcaster understand the business and technical issues well enough to deploy MHP successfully, or will their project fail? Increase your chances of success the first time with Interactive TV Standards.
* A practical, real-world introduction to the technical elements of the OCAP and MHP standards.
* Get everything you need without wading though thousands of pages of standards many of which don't apply to digital TV!
* Get inside concrete problems that have been found by the authors and other users - issues not generally known outside of the standards committees.
Customer Reviews:
This is THE book to get started in OCAP.......2005-11-16
We started our OCAP project prior to the arrival of this book and had to rely on digging through all of the different, confusingly referenced, standards. Every chapter of this book caused a light bulb to click on with a big "ah ha!" Don't get started without reading a copy of this book. It's a 10 to 1 reduction in pain.
insightful, and well-written.......2005-09-12
The authors give a well-written introduction as well as many insights into the design of interactive tv systems. This is a must-have for anyone new in this field. The book presents much more information than those on the interactive-mhp.org website.
The book you need if you are serious about IDTV.......2005-07-05
This an excellent book! A must have! I strongly recommend it to anyone willing to have a broad and at the same time in-depth view into the numerous concepts and APIs necessary for designing IDTV applications. Several code snippets are provided to illustrate how each API can be used: this can help save a lot of time as the DVB MHP and OCAP specs are a little bit hermetic.
Amazon.com
Producing Great Sound for Digital Video educates beginning and experienced filmmakers on the intricacies of creating an outstanding soundtrack, from preproduction planning through the final mix.
The entire book is fascinating: it's absolutely packed with useful information and tips. Most of us remember learning in high school physics that sound travels about 1,100 feet per second, but besides gauging the location of a lightning bolt from how long it takes for the thunder to reach our ears, we never found it useful. Imagine, however, shooting a scene from about 90 feet away with a camera-mounted microphone. In this scenario, the audio will lag behind the image by about three frames--not much, but it's certainly noticeable. The problem gets worse as the distance increases. The workaround is to put a microphone next to the subject or slide the audio track so that it syncs with the images.
The book presents other solutions to showstopping problems that, because of lack of experience, a filmmaker wouldn't realize until getting to the editing room. Other critical issues such as preproduction planning, the art of production and recording (including environmental factors and microphone setups), and post-production editing and effects are also discussed.
The advent of low-cost, high-quality video production equipment has ushered in the birth of AV producers and AV presenters who have grand intentions but negligible experience. Digital cameras, inexpensive computers capable of capturing and playing back high-quality digital video, and full-featured editing software offer all kinds of ways to create visual eye candy, but embryonic filmmakers don't always realize that the picture is only half the story. Producing Great Sound for Digital Video explains how the other half works, what to watch out for, and how to achieve professional results. --Mike Caputo
Book Description
Producing Great Sound for Digital Video is a complete audio training guide as well as a quick problem-solving resource for the working pro. The author explains hundreds of real-world techniques to use from preproduction through the final mix. Readers get how-tos, tips, and time-savers, plus tutorials on key skills such as dialogue and music editing. This edition features deeper coverage of location techniques, including choosing the right mic, in-camera sound recording, getting sound into the camera cleanly, calibrating the camera to location sound equipment, working with mic booms, using separate recorders, and digital wireless. It also includes updates on working techniques, including new software categories for postproduction and new interchange standards.
Producing Great Sound for Digital Video is packed with hundreds of real-world techniques that range from pre-production through the final mix--including tutorials, tips, and tricks to make great tracks with any computer or software.
Customer Reviews:
Great Book.......2007-01-19
for anyone that wants to have a professional approach to digital video this is a good book.
If you only buy one book on sound.. This is it.......2006-09-09
Where do I start? In a nutshell, this book *IS* the only book to have on sound if your only buying one. No lie. My background... 20 years ago I used to be the "The Amp Dr" fixing commercial PA systems, amps, etc. I have a much better background on sound than most, I was an electrical engineer after that, designing power supplies, and other analog interfaces to digital equipment. Most of that has been dormant for the last 20 years, but I recently decided to make documentaries, and as two of my first projects deal with music, sound seemed pretty important. I got several books on sound, I figure buy six, one has to be good. You can save your money, this book was the one in six.
Knowing audio but NOT audio for video, one of the most important things I discovered is that a professional quality product (video) can only be made with good sound.. If you think you $2 -$10K pro-sumer camera is going to deliver it with the standard mic turn on "auto level", you're really wrong. Half of good sound is the absence of sound, or at least the absence of unintended sound. Insuring good sound is more work than it sounds, but the quality and impact of what I am shooting now is significantly better than before. Otherwise, its' all like home videos, maybe pretty shots and cleverly edited, but still seems like home videos. It all becomes much clearer after reading this book.
When I picked up this book, it was a mental orgasm. Not only does this guy know his stuff, even more importantly, he knows how to communicate it. The way it was written, I was easily able to skip over the stuff I didn't want to review, and go straight for the meat. It is meaty. Almost EVERYTHING I wanted to know was here. I did end up going back just to see how he explained the basics.. great! One of the things I liked about his style, is some authors will tell you something is bad or wrong, with no explanation.. Jay give you good examples.. the CD recording with the book is worth it's weight in , he give examples of proper recording and bad recording (with explanations). You can actually hear it as oppose to read an explanation and take it on faith. Borrow money if you have too.. but buy it.
My message to Jay:
If you read this Jay, I have a few requests. (1) Don't let this book go out of date. Please do you SNR and distortion measurements on some of the new HD cameras. Given the bit resolution is now even less with HDV (12 bits (HDV) vs 16 bits (DV)), I think dual systems are even more important to cover in greater detail. (2) Update with some of the new digital recorders that are replacing DATs (3) Thanks for a great book!
A rare 'how to' book that delivers actual content!.......2006-01-05
I've often been taken in by large reference books that promise to be a comprehensive guide to a subject, but turn out to be a lot of filler (screen shots of PC applications, or an excuse for the author to give lots of less-than-useful anectodal stories, etc.)
Not so with Jay Rose's 'Producing Great Sound for Digital Video' book. This informative guide covers a lot of ground, including sound theory, equipment explanations and use, and techniques for sound production including NLE tips, audio mixing, mic use etc. The great thing about this book is it is written with the expectation that your sound production values should be professional, but it's still accessible to hobbyists and those on a budget.
While I think novices to the field of sound engineering (like myself) probably benefit most from this work, I think a lot of the material here is useful to the video production community as a whole. I learned a lot from this, great work.
A Top Resource for Anyone who does Serious DV Recording.......2005-04-23
This book is a top shelf resource. It is useful to both novices and those with more experience. Starting with the very basics, and that does involve some physics, it works its way through virtually all aspects of sound production for digital video.
Do not be fooled. You are not going to learn much to improve the built in recording that comes with your camera. The author is unapologetic in his broad condemantion of the built-in stuff in terms of both quality and usablility. He goes into the reasons and gives a bit of advice on making the most of what you have but this is not what the book is about. Instead, it is about exactly what the title claims. Unfortunately, this is seldom if ever achieved with the built in stuff.
After going over some of the basics of sound and recording, different types of equipment are described in terms of suitability to task and cost. After that, the actual use of this equipment is considered in a variety of situations. The book is not just concerned with equipment and its use, however. There are chapters on editing and even on the use of prefessional talent. In short, the assumption is that you want to get good quality audio for your video production. The author then describes how to do exactly that in a variety of settings. Unfortuately, doing the job sometimes takes a bit more effort than just pushing the record button on the camera. It also take a bit more money although it does not have to take a great deal more. It depends on what type of sound is needed and how you are going to use it.
If all you want is to catch the background sound in a home video, spend your money on something else. If you want to learn how to get the best possible sound for your particular need and preserve that sound to use with video, you need this book.
You will understand sound after this book.......2005-03-02
Audio is really important, and this book will make sure you get incredible sound at every shoot. I really recommend this book!
Book Description
Offers user-friendly knowledge and stimulating exercises to help compose story, develop characters and create emotion through skillful creation of the sound track.
Customer Reviews:
One of my all time favorite books........2007-06-19
"Sound Design" by David Sonnenschein is a very rewarding and fascinating read. Full of knowledge and practical examples as well as exercises to develop the reader's own awareness for sound. It's became one of my all time favorite books.
I highly recommend it to anyone interested in sound... be it for film or radio.... or music...
Great Service.......2007-03-10
It was shipped the same day and delivered a few days later. For those college students that get ripped off at their school bookstore this is a must.
A most excellent read and perfect for classes in sound design.......2007-02-12
David Sonnenschein's book is my "go-to" book for not only the quality of information that he presents but the interesting way that it is told. This book is an excellent read besides being extremely informative. I find that these are the best to assign to my students as many texts are just that: texts - dry and dull. David Sonnenschein presents the information herein in a delightful way and has many excellent tips on the overall shape of sound.
A great book, full of examples and creativity.......2007-01-30
I have to thanks deeply Mr D. Sonnenschein for this incredible book. I enjoyed it so much. This book helped me so much understanding the 'how' of sound effects and ambiences in movies. For sure a good choice and a good book.
I just can give an advice: buy it!!! I am a sound designer in Spainn and I consider this book a must.
Thanks David!
Great book to teach with!.......2006-01-26
I use this book in my Sound Design class at the University of Saint Francis. It is a great foundation upon which you can build confidence in your inexperienced students just by having them read the book! Also it helps make sense out of the confusion of directors dealing with sound and audio crew. This book has made my teaching job a lot easier and the students of my class a lot more saavy in sound design.
This book also would be excellent for anyone interested in the sound of movies and TV. AND it is essential reading for any Director (any GOOD Director, that is) Thanks David Sonnenschein for writing it!
Average customer rating:
- A Great Start
- Very Good
- great book!!
- Superlative
- Bad Copies
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Video Basics
Herbert Zettl
Manufacturer: Wadsworth Publishing
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ASIN: 0495050326 |
Book Description
Herbert Zettl draws on his expertise and field experience to bring you the new edition of VIDEO BASICS, the handiest and most authoritative, current, and technically accurate student guide to video production. Meeting the need for a briefer book, this text distills comprehensive video instruction so that it can be covered in a single semester. The book moves students from video concepts and processes to production tools and techniques, and finally, to the production environment (studio and field, inside and outside) and its effects. A more conceptual framework leads the student from the idea (what to create) to the image (how to create) on video.
Customer Reviews:
A Great Start.......2006-03-02
This book is a must for anyone getting into video production. Full of basic information that is conveyed in an intuitive and concise way, plus there is plenty of advanced knowledge to keep you referring back for years to come. Definitely a staple for all video people.
Very Good.......2004-01-24
My boss told me to buy this book, and it is one of the best available book.
great book!!.......2002-08-09
i am an electronic media communications major and this book has been used for a number of years in my school's communications program. video basics 3 has everything you need to know and everything is explained in much detail, yet not too complicated. there are great illustrations throughout the book that are very helpful as well.
i bought this book used from my campus bookstore and i gotta wonder, why would someone return this book at the end of the semester? i still have mine and have re-read it through quite a few times, most definately something worth holding on to!
Superlative.......2002-04-24
This book gives a broad overview of the field of video. It is intended as a textbook for students in a university video course, however, the information that it contains will be valuable for anyone interested in improving their video skills, especially in professional contexts. Since the book is a textbook, each chapter begins with a list of key terms and definitions, and key concepts are highlighted in the text and repeated at the end of the chapter. Each chapter also contains instructions for a lesson in Zettl's Video Lab on CD (not included). The book covers many topics related to professional video production, including the video production process, the video team, video cameras, lighting, sound, editing, and the studio. I found the language to be very straightforward and highly informative.
Bad Copies.......2002-01-30
My copy of the book did not have chapters 3 and 4. I had a chapters 1 and 2 repeated. Check your copy of the book.
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