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
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.
Average customer rating:
- A Great Start
- Very Good
- great book!!
- Superlative
- Bad Copies
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Video Basics
Herbert Zettl
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VideoLab 3.0, Revised
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.
Customer Reviews:
Super third novel!.......2007-07-19
Zoey Dean is at it again, with her third book in the A- List Series. In this book Anna gets an internship with Clark Sheppard, Cammie's dad, after Margaret gets angry at her. Things are going great in the set, and Anna may be falling in love with another guy. Ben goes back to Princeton, worried that Anna will fall in love with another guy. Cammie, on the other hand, tries to destroy Anna's intership. Information is leaked to Hollywood tonight about the show, Hermosa Beach, and everyone believes it is Anna. Clark fires Anna for this and Mia, Cammie's new stepsister has had enough with Cammie and tells her stepfather, Clark, that it was Cammie, for which he takes away her credit cards and car. Clark offers Anna the job back, but does not apologize, so Anna turns him down, so she an work on her film with Sam.
Parents BEWARE! Lots of sexual content........2006-07-10
These books are touted as "teen" books, but are highly sexual and completely inappropriate for young people. I read one just to keep up with what my 13-year-old stepdaughter is reading and could not believe that her mother allows her to read this trash. Passages where teens are kissing, then "moaning", then "moving on top of her" are common. This is adult material, not suitable for teens.
A-List #3: Blonde Ambition.......2006-06-28
Once again, I am addicted to the A-List novels. I started reading it, then got bored, then picked it up again a few days later and read it all the way through. I loved it. This one had more action in it.
Okay, so Ben and Anna are together, and then Anna gets an interneship with Clark Sheppard, which is Cammie's dad. Cammie is really mad, and she tries to get revenge. She's also mad at Sam and Dee because they seem to be hanging out with Anna more, so she starts trying to get Adam from Sam but then when she kisses him she thinks there's something more.
Anna and Ben have problems too, when Ben doesn't go back to Princeton. Then, when he does she and Danny are together.
I wish Anna wouldn't do this. I mean, maybe Ben isn't best for her but she is being such a player.
Either way, I loved this book
THE A-LIST DOES IT AGAIN!.......2006-06-27
The a-List yet again does not cease to amaze me! This book was a wonderful read and I thoought it was as good as the others! Anna and Ben are finally back togther,but what is up with ben's jealousy problem? Ben obviously can't stand to see Anna with another guy, and thats why he's put Princeton aside. Sam continues to be a good friend to Anna. But really, what is going on with the Cammie and Adam thing? Adam is such a great guy and Cammie is amazingly catty, can their relationship work? Or is it doomed to fail like all other hollywood relationships? Is Ben going beck to Princeton?ever? Is Anna going to grow tired of Ben and his jealous ways? Or will she stay by his side in the name of love? Read the book to find out!!!!
I Loved it!.......2006-06-19
This was a great book! Ben really started annoying me because he was becoming so protective. I finshed this book in 2 days and i'm on " A-List" withdrawl right know. I l,oved all the new chartcters that evolved.
Amazon.com
"Editing is the creative force of filmic reality." So Dmytryk, director of the American classic "The Caine Mutiny" begins this little book, which he hopes will aid film directors and editors in perfecting their art. It is informative for general audiences as well, demonstrating how deeply the experience of any film relies on the creativity and versatility of its editor.
Book Description
On Film Editing explains, in simple terms, the principles of film editing, using examples and anecdotes. Written in an informal "how-to-do-it" style, renowned director Edward Dmytyrk shares his expertise and experience in film editing in an anecdotal and philosophical way.
In On Film Editing, Dmytryk contends that many technicians and professionals on the film crew-- from the cameraman and his assistants to the producer and director-- must understand film editing to produce a truly polished work. In this book he explains in layman's terms the principles of film editing, using examples and anecdotes from almost five decades in the film industry.
A perfect introduction to film editing.
Written in easy to understand language
Supported by examples from famous films and the author's vast experience.
Customer Reviews:
This book made me a film maker........2007-06-11
One of the most important books in my life. I read and re-read this book in preparation for editing my FIRST film ever. Reviewers say my film possesses a "master level" edit. This book is why. Buy it. Read it. Re-read it.
My message to all young grasshopper: Read. And now read some more. Read and you become master phlegm-en-zepher.
editing is tricky buisiness.......2006-11-10
this is an excellent book on this very delicate craft. I also liked "the eye is quicker" but this was very informative and a better read. there is no substitute for actually editing and what works is hard to descibe in words but this book demonstrates some very subtles points and Mr. Dmytyk is a film maker. If your just starting read the eye is quicker but if you have some experience and want to go to the next level, this is a good one.
Informative, interesting and Nice Bed Time Reading.......2006-07-17
This is not only a really awesome book to help improve
your editing skill, but also one of the nicest overall books I've
ever read. Worth while buying.
Classic. Essential. Practical........2006-03-07
There are a lot of great books on the more artistic and unquantifiable aspects of motion picture editing (for example, Michael Ondaatje's Conversations with Walter Murch), but this is one of the few books to lay out the basics. Everyone who wants to edit motion pictures, whether it's home videos using iMovie or feature films using Avid or even (especially) actually cutting film should know what this book has to teach. It's really the only book for the novice editor worth reading. Just buy it.
Timeless value.......2005-12-24
Some principles are timeless. This is so with the techniques of editing. This book is as relevant and inspiring today as it was when it was first published.
Average customer rating:
- Making complex issues clear
|
Making Media: Foundations of Sound and Image Production
Jan Roberts-Breslin
Manufacturer: Focal Press
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ASIN: 024080502X |
Book Description
Making Media takes the media production process and deconstructs it into its most basic components. Students will learn the basic concepts of media production: frame, sound, light, time, motion, sequencing, etc., and be able to apply them to any medium they choose. They will also become well grounded in the digital work environment and the tools required to produce media in the digital age. A CD-ROM, compatible with both Macs and PCs, will provide interactive exercises for each chapter, allowing students to explore the process of media production. The text is heavily illustrated and complete with sidebar discussions of pertinent issues.
Focusing on the building blocks that transcend the boundaries between film, television, multimedia, and the Internet, this highly illustrated and interactive text stresses the commonalities of various types of media and prepares the student to succeed within a wide range of disciplines.
*Prepares students to move with ease into any number of media disciplines - film, video, photography, audio, multimedia
*Includes companion CD-ROM with interactive exercises
*Highly illustrated throughout
Customer Reviews:
Making complex issues clear.......2004-12-24
This book has been a real life saver for me on my first semester at graduate school. The other media books I had to read were overwhelming with never ending details and jargon language. Roberts- Breslin's book explains everything plainly from start to finish. She has an uncanny ability to simplify extremely complex matters. Even with no prior knowledge of the technical aspects of media making I now have a solid foundation.
The main terms are bolded, and also listed in the end so you can read the book beginning to end or just look up specific topics. The attached CD is a great addition as it visually illustrates concepts that are difficult to explain verbally, such as the different camera movement (What is the difference between the pan and truck movement?) or the phi phenomenon.
Another great thing about the book is the practical tips it gives to a beginner. Logging all my footage, for example, would have never accrued to me, but it made editing so much more manageable and must have saved me hours upon hours.
Average customer rating:
- Behind the Scenes of Media Programming
|
Programming for TV, Radio & The Internet, Second Edition: Strategy, Development & Evaluation
Lynne Gross ,
Brian Gross , and
Philippe Perebinossoff
Manufacturer: Focal Press
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ASIN: 0240806824 |
Book Description
Where do program ideas come from? How are concepts developed into saleable productions? Who do you talk to about getting a show produced? How do you schedule shows on the lineup? What do you do if a series is in trouble? The answers to these questions, and many more, can be found in this comprehensive, in-depth look at the roles and responsibilities of the electronic media programmer. Topics include: Network relationships with affiliates, the expanded market of syndication, sources of programming for stations and networks, research and its role in programming decisions, fundamental appeals to an audience and what qualities are tied to success, outside forces that influence programming, strategies for launching new programs or saving old ones. Includes real-life examples taken from the authors' experiences, and 250+ illustrations!
* Completely updated to include: new programming forms, changes in programming style, and more!
* Updated Glossary!
* Study questions for each chapter
* Companion website for students and Instructor's Manual
Customer Reviews:
Behind the Scenes of Media Programming.......2006-01-28
This is a very solid job at describing a constantly moving target. The authors (the first and third are at California State University-Fullerton, while Brian Gross teaches out in Jakarta and has enjoyed extensive experience in all three media) help to bring ever more important Internet content into the media mainstream with their treatment. Chapters cover the history of programming in all three services (and related areas such as video games), sources of television programming, sources of radio and Internet content, development of content for each of the three, testing of audience reactions, elements of successful programming, factors influencing television programming, factors impacting radio and Internet content, scheduling strategies for each of these services, program evaluation, changing and canceling programs, and ethical issues. The book is more descriptive than critical in approach, and helps readers get behind the scenes to better understand the players and process.
Book Description
This classic, best-selling text introduces students to the basic skills required in all aspects of television production, including camera and studio, field equipment and production, and multicamera directing, at the same time emphasizing the latest production techniques and technology, such as audio workstations, non-linear editing, and HDV (High Definition Video). TELEVISION PRODUCTION HANDBOOK introduces cutting-edge developments in the field, while maintaining its reputation as the standard for the Television Production course. Presented in full-color for the first time, this is the most current, technically accurate reference text available, and it offers the most extensive teaching and learning package for the course.
Customer Reviews:
A Good Text.......2007-01-11
This is an excellent reference text for TV production students. I use this in my classes. The problem is it is very expensive and it is missing some key framing concepts (the rule of thirds). It can also be redundant at times. As a whole though it is an excellent text.
The Best television production textbook ever!!!!.......2005-08-03
This textbook is a truly fantastic textbook if you want to learn about television production. There are no other textbooks like it.....it literally is the bible for all television production students. I have done several internships in the field of television and this textbook has covered a lot of what I have done in these internships. Its amazing how much of what I have read and seen in this textbook are also things that I worked with in my internships. It's simply the best textbook out there for television production students!!! Look into other works by Herbert Zettl, he is the Sigmund Freud of the television world!
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