Video Books

This book has helped me so much on Falcon 4,science it is A VERY COMPLICATED SIM!

The Falcon 4.0 Simulator (*not* a game) is a very good facsimile of an F-16 and its operating environment. The sim manual is very comprehensive and very good, but this book should be required reading if you want to further your air-to-air and air-to-ground skills and compete in the campaigns, especially if you fly multi-player. I reference this book and review the tactical concepts constantly.

Of particular importance are the anecdotes, or personal *real-life* stories that Pete presents at the head of each section. These are more than just "war" stories, they are stories with an important lesson to be learned, and they apply to the *virtual-life* experiences that you'll have in the sim. If you fly Falcon 4.0, you need this book.

5 stars eh? yeah the book deserves more than five if you ask me.If you thought that manual was huge this would look very thin in front of it but boy o boy it sure have a punch in it.What can i say more it really improved my games and now i am enjoying the game more and more Thanx Peter And James for such an excellent book

Written by Pete "BOOMER" Bonanni and Jamie "LINUS" Reiner, 2 actual F-16 pilots gives this book an even more authentic feel and there true experiences they share with the reader sure give you an idea of the tough job a Viper pilot has. The book is well thought out with 25 chapters and 7 appendix's devoted to all areas of the sim. It will surely add to your enjoyment of Falcon 4.0 ORDER IT NOW!!!

The RCA CED VideoDisc system is barely mentioned in this book, but it does provide a comprehensive history of video tape formats, with an emphasis on how RCA and other American manufacturers let VCR production slip through their fingers. Besides covering the Betamax and VHS tape formats, the book also deals with other obscure tape formats like CV-2000, U-matic, EVR, InstaVision, Cartrivision, AutoVision, V-Cord, HoloTape, and MagTape. The last several chapters of the book deal extensively with the landmark Universal vs. Sony lawsuit.

This is a great book for those who think that Japanese firms somehow misbehaved in overtaking the U.S. electronics industry. It is also one book that the founders of Apple should have read. By keeping it for itelf, Sony seems to have insured the demise of the superior beta format!

This book is so relevant to the time we live in now its silly. All the IP issues that are argued ad nauseum about ... and its ilk have all been hashed out 20 years ago. Even some of the players were the same, such as our old friend Jack Valenti and Sony (who were on the other side at the time!) The IP parts are great, but the history of the BETA vs VHS battles are also very illuminating and the stories about the Sony engineers and early failed attempts at VCRs are fascinating.

Techno junkies will love this book. Order it....

It happens all the time. Here we go again. Pick a winner and win a prize. Here is a wonderful history book about new media, and the string of failures including CBS's EVR, RCA's Holotape and MagTape, Sony's U-Matic (it was intended to be a consumer device, but was an accidental hit in the professional market, not unlike IBM's PC) and Betamax, Discovision, Cartrivision, V-Cord, and the ultimate winner, JVC's Video Home System. It explains why the Japanese decided to fight it out in the marketplace with competing 1/2" tape systems, and has lots of coverage of the Betamax Case, which has important implications not only in Freedom of Speech and Copyright Law, but in the politics of Muchomedia. Many of the questions we struggle with in Modern Muchomedia tripped up these guys a decade earlier.

I was taking a intro to audio class and my teacher who worked in the sound industry has recommended this book for all kinds of reasons. Starting from story boarding to angle shots and sounds, and all kinds of very interesting information that just cannot be covered by me talking.

Very awesome book and whoever is in the industry should try using it.

This book is excellent for the fundemental understanding of film and its various stages. It allows readers to look at films through the eyes of filmmakers and critics alike. It simply allows you to understand how films work, as well as provide a summerized yet thorough hisotry of early film all over the world. The book provides readers with movie titles that are important in the developement and influence for movies today. Overall, the book is worth every penny for those who are looking for a detailed understanding of film and film history.

We used this as our textbook for a course on "The Art of Film" at my university. It's packed with a lot of great detail, obviously written by someone who knows and loves the subject. The problem is that it's not as well organized as it could be. For example, the authors will make a comment along the lines of "there are three important reasons why X works the way it does." Then you spend the next 28 pages trying to find the three reasons (since you KNOW you're going to be tested on this), which are usually buried among a lot of very interesting details. A few well-placed paragraph and sub-paragraph headings would help alleviate the need to play "where's Waldo" with important concepts.

My other beef isn't so much with the content of the book but with McGraw-Hill's penchant for printing paperback textbooks like this one on the **heaviest** paper they can find. Not that the paper is thicker or more durable or anything, it just weighs a TON. Add a couple of these tomes to your backpack, and it's off to the chiropractor. The paper also has a kind of "sheen" to it that makes it very difficult to read under library lights (most lights, for that matter) due to the glare that appears on the pages. I usually end up holding the book at some odd angle just to be able to see through the bright spots. Obviously, this is not something the authors necessarily have any control over, but I believe it deserves mention.

I would have given this book a rating of 4.5 had that been an option, as the content IS quite good. Over the course of my class, I've been making a list of "movies I must see before I die" based on some of the comments and examples used in this book. As I mentioned above, the biggest problem is organization, and unless you're a student with limited time, this probably wouldn't be an issue.

This is one of the best introductions to film studies. The bulk of the book is about the formal analysis of film, from genre, to editing, staging, sound, and mise-en-scene. Although this is an introductory book, it goes very in-depth into all the formal elements of film-making. All terms are carefully defined with many examples. Film has its own "language," and this book helps readers to understand that language. After reading this book, you will never watch a film in the same way again. It will vastly increase your understanding. The writing is clear, accessible, well-organized, and straightforward. There are also chapters on film production and distribution, and a helpful chapter on film history. Reading a film textbook tends to be an exercise in frustration, since there is so much technical analysis of films that either you haven't seen, or haven't seen recently. The many pictures help with that problem to some extent. The physical size of the book is rather awkward for reading, unless you're sitting at a large desk with the book laid out in front of you. The accompanying CD includes a few very short film clips and some quizzes on the chapter materials.

In this expansive encyclopedia, author Billman offers a comprehensive who's who of Hollywood film choreographers and dance directors from the start of the movie business. Each entry provides a brief biography/perspective of the talent under examination as well as providing their film credits and listing their career contributions in other mediums.

Of particular interest are the author's essays on the history/development of screen dance as techniques, style, and technology impacted how choreographers and dance directors executed their craft in Hollywood productions over the many decades.

A unique treasure trove of information well worth purchasing--and enjoying!

This book will delight you if you love dance in movies. I picked it up out of curiosity and found myself lost in its pages in no time. Even as someone who knows a lot about dancing in the movies, I kept saying "I didn't know that!" as I read through the various biographies. It's most impressive the way the author has cross-referenced the complex relationships between dancers and choreographers. As director of the Academy of Dance on Film, he has access to the "backstory" of how things really happened, and this book is filled with wonderful anecdotes.

This book is a totally unique resource. It contains both a history of dance on film (by decade) and a veritable biographic encyclopedia of film choreographers and dance directors, from the well known to those who should be. Despite the massive research that must have been required for this book, it does not read like an academic tome, but is written in a lively, enjoyable style that makes it difficult to put down. An added bonus are the numerous. and often rare, photographs.

From the review in Dance Spirit Magazine - "When you pick up a copy of Film Choreographers and Dance Directors, you'll wonder how on earth you managed without it. This comprehensive encyclopedia contains biographies and credits for 970 choreographers, who worked on 3,500 films. This 664-page book includes 184 photographs, a decade-by-decade history of dance in movies, and a detailed index."

it's very inspirational for designers to keep this handy. these posters are as good or better than the films.

This is a wonderful book in the series with wonderful reproductions of the posters of the decade. Makes a wonderful gift for someone who loves movies as well as a great coffee table book. Highly recommended

Like the other decade books in this series Film Posters of the 60's is a sensational buy. You could either keep it intact as a collection of posters in a book to show and discuss with friends, or cut the book up and actually have a vast number of posters up on your wall. This book is about a third the size of your standard film poster and most movies are full page colour. Any of them would look great up on the wall.

The 60's bought Sean Connery as James Bond to the screens. Rock stars like The Beatles also made movies. Films like Cool Hand Luke, The Graduate, Dracula, Night of the Living Dead, The Endless Summer, 2001 a Space Odyssey, Ocean?s 11 along with a heap of Westerns and World War movies like The Dirty Dozen and The Great Escape have stood the test of time. Clint Eastwood, Steve McQueen, Dustin Hoffman and others went up on walls for the first time in the 60's and you can put them up again today.

I wasn't born in the 60's but I still know most of these great movies. Buy this book.

Tony Nourmand's "Film posters of the 60's" is a wonderful and colorful coffee table style book that is a great treat to look through. There are many of the classic film poster images of the French New wave, the films of Stanley Kubrick and the classic 007 posters, just to name a few. Film poster collecting is a great adventure and this book reflects that enthusiasm. This book was lovingly organized with great detail. A superb value! Looking forward to future editions.

I picked up this book thinking it would be a dry treatise about lighting and camera direction etc. But having not attended film school I thought it'd be good information to lay under my practical film Production experience.

...and it certainly opened my eyes.

This is a book for filmmakers, film critics, and those with a deep interest in film.

It does NOT tell you HOW to make a movie. It provides food for thought about the major production decisions that the Producer and/or Director considers when making a motion picture.

It is an extremely "thinky" book. Moored in the French New Wave, American Zoetrope and to a lesser extent Spanish and Italian cinema. It praises experimentation and asks the reader to consider the effect of everything that they will put into the film. Likewise, the author derides "Hollywood" for sacrificing the potential of the motion picture as art form in order to accumulate as much money as can be made. While this feeling is prevelant throughout the text, it is refreshingly not overbearing.

The book reads like a series of lectures about film theory on such topics as Film School, Writing, Directing, Framing, Lighting, Sound and Editing. In this format it is digestible in small chunks and allows the reader to process what they have read before taking on the next topic.

As an Independent Producer, I found the points in this book to be worthy of consideration as I develop, plan, shoot, and finish my projects. I don't agree with everything he says, but he says it in such a way as to help me understand the impact of my decisions (e.g. to shoot on location vs. on a soundstage). I could easily see myself skimming through this text before any project to help me frame my approach. This is as much a testament to its depth and density as it is to its worth.

It is a new century, a new reality... Hail the new art form! one that will only 100 years of life awaits to be fully and beautifully exploited by new kinds of filmmakers, artists, philosophers, dreamers and siners!

This is the one book you need to read to fully understand the capabilities of Cinema as a true art form, not an obscene business.

Thank you Mr. Geuens, blessings to your creatively anarchic mind.

BUY THIS BOOK!!!

First I thought what could this book tell me what I didn't know already. But then I realized this is not just about filmmaking, this book is about you and me and what we call life. It's a story of looking behind the curtain and seeing the wizzard but not giving up your dream. Deeply inspiring and ultimatly insightful, this is the one text everybody who cares about movies should read. I read this book in a day and I hope Mr. Geuens will continue to write. So fasten your seatbelt and be prepared to see your preconceived ignorance shatter into a thousand little pieces and out of it will rise a new outlook on life and the movies.

Film Production Theory is an exciting and important book. Most importantly, the book outlines what is at stake aesthetically and philosophically in what appear to be merely technical considerations that enter into the making of film. Unlike many other works that focus upon the finished product, or, upon the personalities behind the product, Geuen's book focuses upon the techniques of cinema, with an eye to clarify what are the assumptions about the nature of cinema that are implicit in those techniques. For example, with respect to screenwriting Geuens points out that the standardized approach to screenwriting, in which dialogue is the most prominent feature and camera movement and angles are for the most part deliberately left out, implies that film is about story first and image second and also implies a less than fully collaborative relationship between writers and directors. Of course some writers and directors do collaborate very effectively -- but in doing so they are going against a trend that is implicit in the mainstream traditions of filmmaking, traditions that make it difficult for filmmakers to, say, let images and settings be the impetus for a creative and improvisational approach to telling stories. In addition to screenwriting, Geuens gives very helpful and detailed analyses of the nature of film school, the techniques of directing and lighting and cinematography and sound and editing. In all this, he is not simply aiming to criticize the way films usually get made, or the techniques that get applied to filmmaking, but primarily to show that such techniques pretend to be the best and only professional way to do things when in fact there have been remarkable films made differently and with far different results. In fact, the first few chapters of the book are attempts to understand why and how the "Hollywood system" came to be what it has become, what impact it has had culturally, and along the way to consider and highlight paths that were never or rarely taken. Sometimes Geuens can get a bit heavy handed and he is certainly not without his own strong views, but the book as a whole works to open up and clarify and illuminate the process of filmmaking. He is extremely well read in philosophy and critical theory and film theory, and draws upon ideas from people like Heidegger and Merleau-Ponty and Deleuze and many others, but never simply in the form of obscure name dropping. His references to such thinkers almost never fail to be both extremely helpful on the nature of film and quite clear in its summary of the often obscure thoughts of difficulty philosophers. The book is both an exceptional guide for the aspiring filmmaker and a powerful complement to works of film theory that focus on the product rather than the process. I consider the book the most important book on film I have read in a very long time, and can't recommend it highly enough.

I would say that this is certainly the flimgoer's encyclepidea to all things related to movies and the people involved in creating them. As far as knowlage about films goes. I would say this is impressive and is recommended to any serious film buffs out there.

Halliwell's engaging encyclopedia of film is a treasure trove of information about everything relating to the movies, with exhaustive filmographies, delicious trivia, wonderful quotes, devilish quizzes, and the late critic's inimitable -- and sometimes charmingly eccentric enthusiasm. Warning -- you may dip into it to check one actor's credits, but will find yourself cross-referencing and just leafing through for hours.

If you need a new edition of this work, try Halliwell's Who's Who in the Movies.

Over the last 20 years (or so) I've sent corrective notes to Leslie Halliwell and the subsequent editor, John Walker. For the premiere film encyclopedia, the Filmgoers Companion still has lots of errors, missing information for supposedly complete filmographies, and many many unlisted film stars, especially from the "transition period" to talkies (Anita Page, etc.). Personally, I think Walker was a very bad choice; he doesn't seem to be "into" the encyclopedic format of this valuable resource.

I felt that the book was appropriate about Spielberg's enormous contribution to the film industry over his career. The book has wonderful pictures and stories about each film from the first film, The Sugerland Express, to Saving Private Ryan with E.T. The Extra Terrestial, the Indiana Jones trilogy, and Schindler's List among the films listed here. This book chronologizes Spielberg's film-making techniques as well the special and visual effects. I am not one of his biggest fans. I admire his work and contributions to the film industry but I prefer more than the special and visual effects. There are other film-makers and directors out there that do less with more.

If you want a good read about cinema's most amazing director, then this is the book for you. It contains lots of really great insight not just on shooting the movie, but how it even started. Though author Douglas Brode tends to get a little too political, it is a really good book that I keep coming back to. Read at all costs.

This book is a great read for the major films of Spielberg. It is done with a great deal of research by the author, who puts together a very good story line of the producer/director and how he and his films progressed over time. The author also provides excellent background information on the films, from both a technical point of view and also the creative story line. The text layout, photos, and great front and back cover photos are there to flesh out the films. It is also a fun book to read. All put together, this is a very good book to understand Spielberg, his movies, his life, and his impact on very successful creative and commercial 20th century movies.

Douglas Brode's biography of the films of Steven Spielberg is an informative and interesting book that covers the life and films of Hollywood's most commercially successful film director. From his early T.V films to Saving Private Ryan, this book covers all the facets of Spielberg's work including unknown facts about the production of his films and supplementary information. With rare color production photos and stills, this book is a must- have for any Spielberg or film enthusiast.

I host a small group and have for about a year, coincedentially I called it Finding God in The Movies. I had a hard time coming up with questions for the small group and this book has great questions right inside. Eventually more people started showing up and everyone has amazing insights! I couldn't have asked for more!

The book really helped me with me class that I used it for. Even though we weren't required to read it.

Can we find God in the movies? Yes! In this outstanding cultural book, Johnston leads us to find God in the popculture. He mentions the movie as a story teller in which people communicate their values and worldviews. He, also, teaches us what the christian movies are and how christians can watch the films; the christian movies are what deal with the real human stories and what show the reality afresh. And, when we watch the movies, we, as chrsitians, have to see the christian values such as humanity, friendship, forgiveness, reconciliation, etc. In addition to these strengths, the most wonderful character of this book is the excellent complete film study guide. I enthusiastically recommend this book for all people who are interested in popculture and its application to their real lives.

Catherine Barsotti and Robert Johnston --- husband and wife --- give thoughtful Christians a book full of tools to help them view select movies (33 in all; the oldest released in 1982) through a theological or philosophical lens.

FINDING GOD IN THE MOVIES starts with an informative introduction that discusses the film genre and theological approaches to film. What makes a good film? "Head, gut, and heart. The best movies will engage the whole person." How does a viewer find God in the movies? "Unpack the story.... What is more primary in the way the story is shaped? (1) Is it the plot...? (2) Is it the characters...? (3) Is it the point of view, where a story is given value by the perspective of the narrator(s)...? Or (4) is it the atmosphere...?...Concentrate your critical attention on where the filmmakers have centered their attention. By doing this, you will prove a more receptive viewer of the story and perhaps the Story."

Each of the 33 movie-chapters starts with a two- or three-page "synopsis and theological reflection" --- a review. This is followed by "dialogue texts" (relevant biblical passages), "discussion questions," "clip conversations" (more discussion questions but about specific scenes), and several pages of "bonus material," which includes interesting behind-the-scenes information about the making and makers of the film. Movies also are clearly linked to two helpful appendices: one listing (Genesis to Revelation) relevant biblical references; one listing (A to Z) topics covered in or themes of the movies (for example, Abuse; Affirming the Human Spirit; Anger; Arguing with God; Balance in Life).

The movie-chapters are presented in 13 categories, the more blatantly religious ("Living Our Faith"; "Images of the Savior"; "Renewing the Church") placed toward the end of the book. You might want to start your exploration in these later categories or simply bounce around. The second of the 13 categories, "Beauty, Imagination, and Creativity," discusses two Pacific Rim movies, Spirited Away and Crouching Tiger, Hidden Dragon, that celebrate imagination and creativity but may be hard for the neophyte to discuss theologically.

This is a book for Christians who have an understanding of common grace, "the wider work of God's Spirit throughout and within all creatures and creation," and for those who are open to dialogue with the secular world. What are some of the films discussed? Life Is Beautiful. Ulee's Gold. The Hurricane. Simon Birch. Chocolat. We Were Soldiers.

By using this guide you might get the hang of facilitating a movie-discussion group and then move on to films you wish the authors had included. We'd all have our own list. Mine? The Trip to Bountiful. Cinema Paradiso. Babette's Feast. The Quarrel. Smoke. Maybe I should check out Johnston's earlier book REEL SPIRITUALITY: Theology and Film in Dialogue (Baker, 2000).

--- Reviewed by Evelyn Bence

Flying the Camera is exactly what it claims to be: a COMPLETE guide to freefall photography and skydiving video. I recieved the book as a gift, along with my first camera helmet. Weldon's book helped me set up my helmet, site it in, and start filming! The book is great, with lots of easy to read diagrams and lots of pictures and helpful hints. I highly recommend reading it before you start freefall photography.

A reviewer, an Up-and-coming skydiver: I had about 30 camera jumps when I purchased Flying The Camera. I read the book cover to cover and found it to be helpful in every way. I particularly liked the chapter called "mixing and editing your video" which helped me set up a pretty good tandem-video production at my dropzone. I recommend this book to all camera jumpers.

I had about 50 camera jumps when I purchased Flying the Camera. I read the book cover to cover, and found it to be helpful in every way. I particularly liked to chapter called "mixing and editting your video." This has helped me set up a pretty food tandem-video production at my dropzone. I recommend the book to all camera jumpers.

I picked up a copy of Patrick Weldon's Flying The Camera at the world freefall convention 97. Mainly because it was raining and I was bored. I was quickly surprised at what a truly great book it is! I have about 1500+ camera jumps, lots of competition stuff, and was surprised at how much I learned from the book. Flying the Camera is a very well written, very well put together book, and I highly suggest every skydiver read it before trying to "fly the camera." Regardless of skill level or number of jumps, this is truly a great book.