Video Production Books

Based on comments by other readers I purchased this book. For the power of Combustion I would've thought this book would contain some real-world tutorials to gain proficiency. But I found this book to be a list of features not how-to's. When learning complicated applications such as After Effects, Motion or Combustion, the learner needs to not only know what features and functions do but concrete tutorials to show you how to harness those features and funtions. I found this book to be very thin on real how-to's. For example if you want to create some particles there isn't any step-by-step instructions on creating them. A lot of information on what does what but we never get into actually creating some particles or even modifying the example files you have to download. If it wasn't for the fact that I know Apple Motion, Adobe After Effects and similiar applications I would've had a hard time trying to learn Combustion via this book. I wouldn't recommend this book if you "really" want to learn to use Combustion 3.0. I have purchased other titles from this publisher and have discovered that they are heavy on pretty pictures and colors but very weak on content that actually shows you how to use the applications. If you really want to learn Combustion don't buy this book. If you want a book with a lot of pictures with tips then this is for you. Very disapppointed based on comments by others.

Well i was the first time user to Discreet combustion when i purchased this book and i found it very useful as a starter to the software. This book starts with the chapter to set preferences in the software and then the interface in depth, later on this book will make you understand the main operators of combustion (Particles, paint, text, edit, composite) quite easily, though all the operators are not discussed in the book such as channels, RE vision plugins used for morphing. Gary Davis knows where u can make mistakes and he pointed out that quite well. I found it "easy to follow" kind of book. If anyone who has passed the intermediate level of combustion and advancing to higher level then they should not opt for this book, as this book lacks in profesional techniques kind of theory. Overall this book is designed for Beginers and people at intermediate level of the software. I recommened this book 100%.

Even though I am using combustion 4 this book is still the best learning resource available. The information is well written, no wordy blurbs, and the quality of the pages and all-color photos is fantastic. The only area from this book that's not going to apply to c4 is the discreet keyer because it has changed in since c3.

By combining this book with the wide array of tutorials from discreet's web site it is all the learning material you will need. I highly recommend this book to anyone who wants to truly grasp the ins and outs of combustion! A+

Discreet Combustion is a great program and this book is a great way to learn it. You can either buy this book for $20 or go take a class for several hundred, chances are you will learn about the same amount either way. The combustion particle system is nothing short of amazing and surely is among the top 2 or 3 on the market. The Paint operator is very high quality and fun to work in. The Edit operator is a simple, yet powerfully effective NLE module that will suit you just fine unless you are a hardcore video editor that demands every feature. The Discreet Color Corrector and Discreet Keyer and Tracker are outstanding tools you can use to take your work to higher levels, and finally the animation tools and expression operations take your animations where they need to go. Sounds like alot and it is, and there is a bit of a learning curve to this combustion, but this book will fuse it all together for you with no-nonsense and very readable text, as well as many superior and well-thought-out chapter workspace files that augment the readings and burn your brain with the knowledge. The author put some time and effort into making this manual, and it shows. A true "steal" for $20. The cover says for new users and pros, and I agree that both types of people can easily benefit from the reading. If you have some prior compositing knowledge with After Effects or Commotion, it will certianly help alot, it will also help if you have used some of the other Discreet products as many of their packages have "global similarities." This book would also be good for a complete beginner, although you probably should read it cover to cover twice if you are serious about practical usage. Also worth noting is that unless you like to read dry, bland, offical user's manuals that ship with software programs, there are currently only this book and one other available on this topic of combustion that I have came across, and the other book has been shredded like cabbage for coleslaw by critics here at amazon. Can't miss manual, buy it and study it!

This is a great book if you want to become a pro in a second!
The book is highly illustrated in color, the explanations are short and the book has a lot of pictures.
The best so far!

I am glad Mr. Ciment waited until Kubrick's oeuvre was completed before updating what is, indeed, the very last word on this very unique artist's films. Everything is here from the first edition which was out-of-print for quite awhile plus the films that were made after. With Stanley Kubrick's death we now have the very best study of the themes, techniques and recurring visions of a very singular artist. Anyone who wants to understand the evolution of Stanley Kubrick can disregard all the other flawed books out there and put this one on the shelf as a keeper. With detailed analysis and tons of pictures, any serious fan of his films will appreciate this as only the subtitle says it is - the definitive edition.

This book has been held in high regard ever since it first appeared. Earlier editions were becoming collectible and were always disappearing from libraries.

I guess it was safe for a reappearance following the passing of Stanley Kubrick and the completion of his body of work. The book has been reworked beautifully, including all of the amazing color photos, essays, and interviews from before plus some new additions, namely chapters on Full Metal Jacket and Eyes Wide Shut chapters. There are additional interviews with various collaborators.

In short, in the wake of Kubrick books that sprouted up following the director's death in 1999, Ciment's Kubrick ranks right at the top. It's a gorgeous volume, and the interviews (done by Ciment following Clockwork Orange, Barry Lyndon, and The Shining) are some of the most enlightening words from the director.

Highly recommended for the Kubrick fan and the film buff. Also recommended is Thomas Allen Nelson's Kubrick: Inside a Film Artist's Maze.

With Stanley Kubrick dead and his final film released, Michael Ciment had the opportunity to update his biography/analysis of the great director's career. Rather than rewrite the entire book, he's decided to update it with new interviews and an additional chapter or two on Eyes Wide Shut. (The previous edition was updated to include Full Metal Jacket.) He's also added a lot more photographs --- stills from the films and images of Kubrick at work. The photos of Kubrick working on EWS are particularly interesting.

Early in the book, after a short biographical chapter, Ciment goes through a list of common motifs in Kubrick's films. These include the use of masks, actors in dual roles, character playing games such as chess and cards within the film, circular set design, and a close shot of a main character's eye. Because this section was not updated to include Full Metal Jacket or Eyes Wide Shut, you can decide for yourself if these motifs were carried on in the those two films. (In my opinion, many of the motifs are not found in his last two films.)

This is followed by an essay on 'Kubrick and the Fantastic,' a dull and pretentious piece that doesn't add much. It leads to the best part of the book, the second half, in which Kubrick and his collaborators are interviewed. Kubrick responds to questions with answers that are full of information, but he's evasive when he describes his own films. Later on, the author explains why: Kubrick felt his movies should be self-explanatory (after multiple viewings) and didn't like the "What's this movie about?" question.

The interviews with actors, set designers, co-writers, and costume designers are very good. Everyone has the same reaction: Kubrick exasperated them as he demanded their best work . . . but they wouldn't trade that experience for anything in the world. It's a testament to Kubrick that he choose people who were not petty. (The only sour note is Frederick Raphael, the co-screenwriter for Eyes Wide Shut. He seems smart, but not in Kubrick's league.)

If you're a casual Kubrick fan, this book is a worthwhile introduction. The photos are very good and, as an overview, it's excellent. It is, however, pretentious at times in the analysis of the films. For the hardcore Kubrick fan who has read (or is planning to read) everything on the director, this book ranks third or fourth. Read Baxter's and Herr's books first.

I have this book. 5,6 years ago, I bought this at second hand book store. So book I have is second handed one, and Japanese special edition. As other reviewers say, it's very very great pity that this book is out of print now. I think some publisher had better make new edition title, added to a visualy wondeful film-Eyes Wide Shut!! If you have found it at bookstore and you are a Kubrician, you must take it, buy it, bring it your home, and enjoy these so many precious fotos or very important his interviews in this book. I have various books about Kubrick, but this Michel Ciment's Kubrick is the best book in published ones ever I think. Do your best for finding one!! All your efforts for this book would not be wasted, EVER!

It's a pleasure to see this book back in print. Although Ciment's analysis is a little heavy on the semiotic side, he does an interesting job of illuminating the various thematic threads in Kubrick's work. Profusely illustrated, the book juxtaposes various stills to show the recurrance of visual motifs in each and every one of Kubrick's films (though he manages to miss my absolute favorite -- the imaculate bathroom). There are roughly two essays in the book, one dealing with Kubrick the modernist and the other on Kubrick's use of the fantastic. However, the real gems of this tome are the various interviews, three conducted with the man himself (four if you count a Q&A conducted by mail) following the releases of Clockwork Orange, Barry Lyndon and The Shining. Somehow the author got Stan to open up in a way, that I've never seen him do in any other interview (the exception being the one for Playboy in '68). This edition also contains some fine interviews, some recently added, with Ken Adam, Jack Nicholson, Malcolm McDowell, Diane Johnson and Marisa Berenson. There is an added chapter on Eyes Wide Shut (which in part explains why it took him so long to do the film) and a memorial essay which gives a fine and tender goodbye to a great director and good friend.

I dont mean to let my 3 star rating discourage anyone from reading this book. Its a good book, with utter sincerity from all indie film makers who participated in putting it together.
However, I felt that the amount of total information I got from reading this book, did not justify the price I paid for it.
Also, except for a few tidbits here and there, there was nothing that I couldnt have myself figured out once I started to think seriously of my movie making venture.

NYC filmmaker Kevin J. Lindenmuth asked 25 other low budget indy regional directors a series of questions and assembled the candid responses into ten chapters (on scripts, film schools, budgets, publicity, distribution...). Unlike some similar more self serving books by lone directors, I think this could be very useful if you think you're brave, foolish or talented enough to make your own feature.

Lindenmuth's book is a comprehensive and straightforward insight into the independent film circuit.This book is the perfect guide for anyone getting into the film industry and needs the proper assistance of making your film. His book was the perfect tool on how to get started from the basic script to distribution. Lindenmuth discusses tape formats, camera rental, casting calls, working with actors and how the video box art can help to sell your final film. The book is very explanatory and the format makes it easier to read due to the organization. Not only do we receive insight from the director himself, but he interviews a handful of other independent filmmakers. The questions are the type of questions the beginning filmmaker, as myself, ponders when it comes to the stages of filmmaking. I have read many books on the making of films and one of my favorites was Robert Rodriguez, until now. Lindenmuth makes my goals of becoming a sucessful filmmaker realistic and attainable. He not once lets us feel we need millions of dollars to make some big Hollywood film. If you were to read one book on this subject, then read Lindenmuth's book.

This is a great book for the beginner. Being a novice at movie making I was amazed at all the choices and formats available. Throughout the book there is tons of information to help get you going in the right direction. Interviews abound with independent filmmakers relating to all aspects of movie making as well as some commentary on how they approached the task. The book seems to be slanted toward horror films but most of the info seems universal. There is a section discussing camera type pros and cons that is worth the cost of the book in itself. I was particularly happy that the info is current and the cameras talked about are not obsolete. Sets, actors, editing and even marketing are covered making this a very comprehensive and valuable guide.

This book was extremely enlightening and inspirational to my friends and I. We want to make movies, but have had a tough time raising the bread to do so. After absorbing this tome, we're ready to go for it! This beast covers it all: from scripting, shooting, special effects, cost-effecient video formats, actors, and even self-distribution! We are psyched to join the ranks of go-getters like Lindenmuth, Tim Ritter, Ron Bonk, and Scooter McCrae! I only hope that our end results will be half as good as these pioneers of the limited-budget video forum. But no matter, we're gonna go for it! So if you're looking for motivation, short-cuts, or just an entertaining read on war stories of mavericks outside of the studio realm, check this book out. These are the guys that are carrying the drive-in movie torch into the new millenium!

This book is a beautiful keepsake of the film. It features still photos taken from the film itself with a few off camera photos included. It would have been nice to have a fuller written text with more in-depth comments from cast and crew, so it is not as imfomative as I would have liked. However if you loved the movie, as I did, you will want to have this book.

If you loved the movie and you collet movie memorabilia, this book is a
necessity. The photo reproductions are beautiful and the text is good. I would have liked more coverage and background of the principal stars of the film though. This though is a minor complaint. Recommended.

Arthur Golden's "Memoirs of a Geisha" is one of my all time favorite novels. The fictional story about a popular geisha named Sayuri was spellbinding and well researched. I was thoroughly disappointed in the film adaptation because the director Rob Marshall who ruined the story completely by having the cast speak in perfect American english. I wasn't thrilled with his choice for the protagonist of the story Ziyi Zhang as Sayuri. I will admit that the film was visually stunning. As an accompaniment to the film, there is an interesting coffee table book about the film by Peggy Mulloy. The book contains photos from the film and behind the scenes. I couldn't help but noticed that the behind the scenes material in this book can also be viewd on the bonus dvd to "Memoirs of a Geisha". That is the biggest flaw with this book. The book offers nothing new to the reader that wasn't mentioned on the dvd. I will say that the photographs are absolutely gorgeous especially the ones with Gong Li in them.

Director Bob Marshall brought Arthur Golden's literary classic to the screen; now Peggy Mulloy's text and David James' gorgeous accompanying color photos bring MEMOIRS OF A GEISHA: A PORTRAIT OF THE FILM to the wide audience of book readers and film fans, probing behind the scenes to uncover how the filmmaker and his team re-created the geisha of Japan of the 1930s and 40s. Insights into geisha culture and screening of the movie accompany a 84-page presentation of visuals from the film in an outstanding keepsake memoir of Japanese history and culture.

If you liked the movie, then you'll like this book. But even if you don't like the movie, this book gives insights to things about Geishas and film making that are not in the theatre presentation.
The photos are excellent and the book itself is put together well.

I guess no one can say Al Adamson made any good films but don't let that stop you from reading this book. It's an interesting look into the world of lowbudget exploitation filmmaking in the 60's and 70's and it's a must for people interested in filmhistory in general and especially for those interested in old exploitation films. Interviews with Al himself, Sam Sherman and others with lots of anecdotes. It's all great stuff, this book is a must.

This biography of schlock director Al Adamson is a friendly introduction to his work, if not a a thorough exploration of it. Reading more like an extended fanzine article than full-fledged bio, author David Konow gives readers an engaging tour of Adamson's career as a director of low-brow, low-budget movies that his partner Sam Sherman (whose recollections make up the bulk of this book) booked in drive-ins during the 1960s and '70s. Konow's affection for his subject is contagious as he giddily tells of the making of "Satan's Sadists," "Dracula vs. Frankenstein" and the incoherent "Blood of Ghastly Horror" (essentially three different movies patched together). Self-identified horror fan Konow gives short shrift to Adamson's forays into sexploitation and blaxploitation, however, offering anemic two and three paragraph synopses to such films as "Angel's Wild Women" and "The Black Samurai" and very little background about the making of these movies. In fact, "Schlock-o-Rama" offers very little insight to what made Adamson, who was murdered in the mid-90s, tick. Konow includes a lot of redundant quotes, "sidebars" that could just as well been part of the main text and is overly fond of exclamation points. But while his writing lacks sophistication, Konow's enthusiasm for the amiable director who loved Kentucky Fried Chicken and his wife and frequent star Regina Carrol, makes "Schlock-o-Rama" a worthwhile textbook for all fans of trash cinema.

David Konow gives the fans of Mr. Adamson what they want in this book. He was able to meet Al and set his story straight and put it in a good-looking-easy-to-read fashion. I recommend this book to fans of not only Al Adamson but to movie fans in general who would like to know more about film industry and it's peaks and valleys. My favorite book.

The films of product-oriented auteur Al Adamson (and, significantly, his producer-collaborator Sam Sherman) have deserved a book-length explication for some time now. The golden age (ahem) of micro-focused film studies, outside of the ususal high-budget/high-gloss realm, is in full swing, and Adamson's films can lay some claim to personifying the basis of such writings. Sure, this critical sub-genre is motivated as much by nostalgia as anything else, but it has a place in the body of work detailing film history. So does Adamson.

Konow's book, a work of clear adoration, sidesteps overt critical intent; the author presents a combined personal reflection and verbal history of Adamson's movies and his era. It works on a sheer fan basis, and fans (I'm one) will appreciate the glee and the inside information. If we leave wanting more, we must ask ourselves: Does the world really need two books on Al Adamson? Well, sure - why not? The only thing we have to lose is... paper. Thanks, Mr. Konow (and Lone Eagle Press), for this book, and its blatant heart.

Being that this is the only biography on Al Adamson to date, his fans really don't have much to go by. Thankfully, this book is a fantastic resource, as well as extremly funny. Konow started writing this book when Al was still alive, so its not written by somebody trying to exploit Al's tragic death, but rather a fan. If you're into Al Adamson's movies, you have no reason not to purchase this book. Since the other reviewers have already done a great job at commenting on this book, I'll leave well enough alone.

I enjoyed much of the information that was given in the book. It was helpful to see the type of renderings were being done and to see how other professionals have been able to accomplish given tasks.

First of all, since my work is represented in the book, this could be seen as a biased review. It is not though. What Mark has put together for the 3rd Edition is so diverse and advanced, and in such great quantity, that a comparison to his previous book isn't really fair. Full color printing, samples of art at all stages from scribble to digital rendering, and a wide variety of artists' styles with a fair amount of work from each really make this the most comprehensive book available on the subject. There isn't an area of application I can think of that isn't addressed. I was taken aback by the size of this edition, and very pleased to see all the effort that went into it. This book has a dual focus of art technique and business that stays on message throughout, just like Mark does. It's a great book.

I've never seen a book that covers half of what this book covers on storyboards. I had no idea there was this much to doing storyboards. The new 3rd edition is also beautiful with tons of great sample art.

Plus, the information is well written and easy to understand. I've been struggling to find an easy way to color my digital boards and this book quickly showed me how.

You won't believe how big this book is. I can't believe it costs less than the last edition, and this one is in full color. I've always been interested in storyboarding, and now I feel it's something I can tackle.

This is my new bible on storyboarding.

I was impressed by the amount of information they were able to cram into this book. I don't think that there was one aspect of storyboarding that was left out. It covers the techniques, tools, and methods artistically as well as how to approach it from a business stand point. This book has an overwhelming amount of examples(most of which are full color) of storyboard panels, useable forms, and reference. The recource section is invaluable to anyone in the field. It covers literally every aspect that I had a question about. I highly recommend this book!

I thought Mark's second edition storyboard book was a great resource for every aspect of the storyboarding business, but the third edition is even more complete at 400+ pages and has hundreds of storyboard examples. The examples are instructional as well as an opportunity to appreciate really great art from numerous talented artists.

Plus in the 3rd edition there is lots of instruction on how to draw and color storyboards. No other storyboard book comes close to what this book offers.

I am a little aggravated because I can't seem to open the eighth card from book two. It seems I cannot find the web site for realworld.on.net either. The CD ROM moves along too slow for enjoyment. So where do I get my questions answered?

This is not a game at all, it is a book come to glorious life. To interact with this CD you must have patience, for sure, but the payoff is more than worth it. Casting is perfect, music is just amazing (the opening of this CD is like watching the opening credits of a MOVIE!).

A fan of the series of "Griffin & Sabine" books or the author's would be remiss in overlooking this addition to the mythology. Great job, Mr. Bantock and Real World.

Wow!!! what else is there to say?? I am a huge Nick Bantock fan, and this "adventure" did not disappoint.. the images are all beautifully rendered, and the animation and interactivity just add to the mystery and intrigue of an already magical story. what can I say, except I love it!!! (a strange thing happens to me when I see a Bantock book... I feel compelled to buy it.. even though I already own all of the books.. It is hard to resist his work..)

Aside from the thought-provoking mysteries of the Griffin and Sabine Trilogy, it is Nick Bantock's art to transport a reader right into the middle of a story. With the collaboration of Nick Bantock and Real World MultiMedia, the trilogy hasn't been so alive before. Simply no words can describe it.

I find the CD ROM frustrating. Some of the cards and letters take too long to open. I have to click all over the letter, and still it won't turn over. If I had known this I would not have spent . As a matter of fact no price is worth the distress it causes. I feel that it is unfair that a pace was chosen for me, the player/buyer. It is far from relaxing to get in and out of the CD ROM. It moves at a snails pace. I have tried to pull up the CD ROM's company maker~ which I think is Realworld , but I cannot. I would like an address were I could mail in an offical complaint. Nick Bantock~ shame on you! I didn't expect this from you. I thought your mind was steps ahead of everyone else's.

After reading this book, I was VERY happy to have spent the money to pick this one up!

What struck me most, just from reading the table of contents, was the breadth of the content that is found in Flash: the Future. Not only is there information on creating Flash content for PocketPC 2002, but the book also covers Flash for Broadcast (DVD, iTV, and consoles), as well as the Nokia 9200 series. This book covers all of these topics extremely well. Just over half of the book devoted to developing content for the Pocket PC.

There are several different authors who contribute chapters in this section, and each authors' respective expertise in each different topic is evident throughout the section. For example, in each chapter you will find valuable tips and tricks that only come from such experience.

Flash: the Future is a well written and well edited title, and I strongly recommend picking it up if you are serious about Flash development.

Mr. Torrone, in his 11/15/02 review of this book (below), presents himself as if in error, complicitous (with Amazon), or simply self-serving, as his assertion that "Amazon has a special ..." is 100% FALSE. NO "special"; rather, merely two books bundled together with no savings over separate purchasing. In addition, Mr. Torrone conveniently fails to mention the fact that *Flash Enabled* is authored by Mr. Torrone himself. In error? Complicitous? Self-serving? You be the judge.

Collaboratively written by computer program and gaming experts Jon Warren Lentz, Bill Turner, and Ian Chia, Flash: The Future is a no-nonsense, highly accessible, step-by-step guide to creating content and applications for platforms such as handhelds, wireless devices, video/DVD, Pocket PCS, and more. Flash applications, Pocket Internet Explorer, Flash animations, ActionScript techniques, eMbedded Visual Basic, Microsoft eMbedded Visual C++, and much, much more are all deftly covered with illustrative examples and walk-through explanations. An accompanying CD-ROM contains code and examples drawn from the text, as well as bonus developer tools for the Pocket PC. Flash: The Future is a highly recommended addition to any personal or professional Computer Graphics/Design reference collection.

the book starts off listing various ppcs in comparison and then by goes through (in very good detail) the layout considerations to take when creating flash apps for pocket pcs. many aspects are covered in a way that's very easy to follow along with. a lot of this information will save you plenty of headaches down the road. softkeys (mapping of the device's cursor input) is covered in extreme detail and the source files for all of this is covered very well. c++ (etc.) wrappers are explained in detail so as to hide the ppc's menus, going fullscreen, and more. source code for these techniques are supplied as well on the cd. very valuable stuff. the code is explained in nice detail. classes in c++ and AS are covered in an appendix and are very worthwhile inclusions. transfering flash to television and dvd is covered in depth (and is a first in a book like this.) using flash animations in your dvd menu systems is shown in a step-by-step walkthrough. many of the perils of transfering flash to video/television is covered and workaround techniques are explained. the future of flash on devices is a running theme throughout the book and offers many great insights. the use of XML Socket, loadvars versus XML, etc. is covered. there is a wealth of knowledge to be gained in this well-paced book on the subject of flash on things other than the desktop. it's a bit more technical than flashenabled. the collection of the two books together == a 5 out of 5. these should be your flash device bibles when you want to get involved in creating apps and experiments to run on devices. WONDERFUL stuff. a defacto standard for mobile and other-than desktop Flash deployments. The CD alone is worth price of admission. And that chris pelsor is such a viking!

This book is well written, and the author knows what he's talking about. However, I found he repeats things and often complicates simple things. After reading the chapter about PocketPC Flash technology I found it offered no more information than the Macromedia SDK (free on their website). He does offer some additional advice on PPC game development such as color and art optimization; common sense to most Flash developers. The book attemps to explain how to program a complete game in ActionScript, but does not elaborate on the details of ActionScript (ie: mentions the use of arrays, but doesn't explain their complex charictaristics). If your looking to learn ActionScript, this is not the book. Overall, this book has the advantage of being one of the first in it's catagory.

Thanks. It has helped me be better at the game. It arrived in excellent condition and in a timely manner.

Heavenly Sword is definately on my top-five video games right now. This game has more combos and moves than any other out there. I thought there was alot in "God of War"...Hah! I've been playing Heavenly Sword for over a month now, and I think I still don't know all of the combos. The graphics are top-notch, it's got a decent story, AND...a beautiful hero!

All right, I am going to be honest and say that I am not the type of person that buys a whole lot of strategy guides to help me through a game. But I got stuck in this game, and got one. So far so good.

Let me state this up front: I don't own a PS3, I've never played this game, and odds are I never will. However, based on what I'd read about this book, it had a great gallery of conceptual art in it and, as a devotee of movie, comic book, and video game conceptual art, I decided to check it out. I was certainly impressed. The book contains a substantial conceptual art gallery in the back, and the art stands up with the kind of designs you'd see in an "Art of Star Wars" volume. I was certainly impressed, and I hope this trend of putting out more video game art in book form continues.

Adds some spice to the other species, fun and easy to read book! Real helper!

A very illuminating book from a designer artist who shows how one can learn on the way. It is more philsophical than technical - about the attitude to creating rather than just a lot of technical facts

This is a very lightweight read regarding the process of production. It's more of a personal journal, blog-style account than anything substantial a reader can learn from. However, it does have merit in that respect. So, if you're a newbie and want to get your feet wet, this may be a book you'd like to read to get yourself into those baby steps.

It's a bit refreshing to read a guy's perspective when it's not full of posturing and bravado. The author has a more self-nurturing tone and approaches the work with humility, which again isn't bad for a newbie.

The bottom line is: don't expect anything that is going to turn you into a video producer overnight. Admittedly, it's a hard profession, technical, requiring time, money and connections, and is very competitive. This is not a strong technical manual.

I have a BA in Film/Video and make educational videos/multimedia for a living, so my perspective is a bit skewed.

For anyone wanting to create a short film, web or otherwise, this book is a great starting point. Curtis takes you through some of his works and offers insights into projects - success and not so successful. The candid approach to the work runs more like a one man show of dialogue. Do not expect a How To format. Curtis is all about letting you in on his experiences.

Curtis these days is trying to re-invent himself from a designer to a digital video producer from a web designer (an a darn good one at that). Being one who is starting to dabble in video after I picked up my dvd palmcam last year - I appreciated being shown the path by one who has been there before.

This is a very good book. I didn't think too highly of Hillman before this book, and was under the impression that he was sort of a hack, and happened to be in the right place at the right time for much of his design career.

But I bought this book because I wanted to give him a chance, and I am glad I did. He is able to point out his successes as well as his mistakes, and graciously tries to offer his own humble insights to his process. It is a valuable book for designers, and will look into more of his work.

This is a superquick read comprised of simple sentiments, casually expressed and ultimately well-tuned to the author's professed mistakes and mediocrity. A typical Curtis film relies on others' art to cover for his lack of artistry: stills of great posters cover for a bad video shoot; a great song drives an edit; a great film is the subject of dialogue within his own film.

The result is sub not meta but that's not so terribly bad and it looks so terribly easy. Bravo for offering one way in.